We Sat Down With Clara T To Discuss Her New EP, Durban Rap & Her Favourite Verses
by Mayuyuka
Durban as a city has been making waves in the South African Hip Hop scene lately. The most recent artist to catch our attention is Clara T. We caught up with her to find out a little bit more about her latest release titled It's Fresh Doe!!! and also delve into her background and creative process.
AHHB: How's Clara T grown from the artist who started out at open mic sessions?
Clara T: My starting out at open mic sessions was the beginning of me realizing that I can actually rhyme... From those days I've grown firstly as a writer. Growing as a writer also comes with experiences and being exposed to different things. I've definitely grown as a performer as well. I started out very shy and awkward on stage because the experience was new, but now I see the stage as a place I get to be free and have fun. Time has allowed me to really think about my art and what I want to achieve with it... and time is growth.
AHHB: How is it being an independent artist right now?
CT: Right now for me? I've always been an independent artist. It's the only experience I know. I've been managed and that felt like being signed which I now know is not how it's supposed to be. It's why I am now managing myself. Right now, as in the times we're in at the moment? It's a process. I like being independent because I have full control of my music, full control of what I want to give to the people in terms of the way I want to look, what I want to say and not say, who I speak to... I like knowing how the industry works, and it's a great thing that I can represent myself because no one knows my brand and my music the way I do, and well, who I make music with.
The only downside about being independent, for me personally, is the lack of funding. I do the best I can with what I have and I've been blessed enough to have undying support from my family and people who believe in my pursuit.
AHHB: There's strong regional bonds between hip hop acts in SA, is that the case in Durban... you still rep RandHustle?
CT: No. I do not rep RandHustle, I haven't since the day I left the group, 3 years ago. There's a very thin line - it's practically invisible now - between "regional bonds" and "connections" with people. Finding my place and representing that specific place is a dilemma for me, because I'm based in Durban and I've lived here since I was 5, but somehow, because I'm not Zulu, I still feel out of place.
AHHB: Sonically, you seem to have shaken off the tag of being a Durban rapper though... how would you like the audience to receive you?
CT: I began my rap career here and Durban is the first place to hear what I have to offer so that's one reason I'll always have a special place for DBN in my heart and why I can call it "home". When I go to Johannesburg, I also feel at home there as well, so I also want to represent the Vaal and Soweto. It's not just about representing ONE specific group of people or one specific place for me. I represent my family, I represent myself, the culture, women, music, Hip-Hop, South Africa.
It's much bigger than one group of people, I want to make as many people as I can proud. I want people to see me as a representative of more than just the city. I feel like when people ask where you're from, it's so that they can decide how to treat you, and that has nothing to do with the music.
AHHB: The face of the SA rap game is getting much younger, what mark do you hope to make in coming years?
CT: I hope to have a long lasting effect on the industry, and more so, a positive effect on people who listen to my music. The face of the music industry around the world is getting younger, and it's a medium we can communicate through because of the developments of technology and what-not. When we get older, there will be young people doing bigger crazier things in music because it's how it works. It becomes exponential to the point where age isn't going to matter anymore.
AHHB: In L.I.F.E you say "capture moments, don't catch em all on your phone". What were you trying to capture with this EP?
CT: It's Fresh Doe!!! was done under the premise of it being a medley... a showcase of different sides of me.
AHHB: How did the EP come about, what was the process like?
CT: The project was some collaborative verses that I had written prior to the day I recorded. I had some verses. They had some beats and a studio. We recorded 4 of the tracks in one day when I had a session with the guys from Drop XVI Africa, then the extra tracks we included were done at the TicTocMusic Studios.
AHHB: Well its now or never, so gotta ask. How was the experience recording the recent Ms Cosmo-curated remix?
CT: Well, I recorded my verse for the #LeFemmeRemix while I was in Durban. A lot of us were all in different cities at the time, but some of the ladies were able to write and record in the same studio with Ms Cosmo because they were in Joburg. Most of us all met for the first time on the day when we had our Balcony Interview for SlikourOnLife. It was really awesome to meet everyone, and now this song has allowed us to be familiar with each other's music as well, and for people to be introduced to more women in South African Hip-Hop.
AHHB: After the response to that track... what's next for you?
CT: Apart from It's Fresh Doe!!!, there will be a follow-up project (a mixtape) titled "Late Blooming" which will be dropping this Spring. I've got so much lined up, but I don't wanna give too much away... people will know about it when it all happens!
AHHB: Lastly, what's your all time favourite verse and why?
CT: Ah, just one verse? Well, my all time favourite rap song is "Kick, Push" by Lupe Fiasco, because it was the first rap song I fell in love with because it was a story about growing into something you love doing and how it affects your relationships with people. It was the first rap song I memorised word for word. The first verse of that song... every verse in that song will always stay with me!
Octopizzo Talks About His New Music & Potential Rap Beefs
by Contributor
Octopizzo had planned to release an album every year on August 8th, a pattern that he started with his last album, LDPC. Unfortunately, this year he’s been a caught up assisting the United Nations with the refugees crisis in Kakuma. Pizzo says that he hasn’t really been able to put together an album although he did promise to release something of the 23rd of August.
That release was his new video for Utanisho, (slang for what can you tell me?) a song that many feel was taking shots at Khaligraph Jones. I think he definitely did. He starts off by saying some rappers are still releasing cyphers (I assume he's referencing The Khaligraph Jones Cypher Presents...) and from my interview with him where he mentions the same cypher, it doesn't take a rocket scientist to join the dots.
Earlier in the month, soon after the release of his latest track Butere which is a celebration of the Western culture and initiation of young boys into adulthood through traditional circumcision, I caught up with him to discuss a couple things, starting off with a QnA session from fans.
On Butere, he says the idea actually came from video director Enos Olik and his fear of releasing the track because it was something totally different from what he usually does so he wasn’t sure if the fans were going to embrace it.
He also talks charging for features, working with the female artists in the game, how he met Vicmass Luodollar and how the hit song Bank Otuch Remix came into existence.
He talks beef in the rap game and how “everybody out there beefs with me. I don’t have that time” He also airs his opinion on Khaligraph, saying that he’s always taking jabs at him and how he’s on such a higher level than Khali is because he [Octopizzo] has performed abroad while Khaligraph hasn’t.
Octopizzo also speaks on a possible collaboration with Kristoff and on family life, how different he is from his parents as a father now, how tough love from his folks shaped him as a person (he had lost them both by the time he was 15 years), getting his siblings out of Kibera and re-uniting them after not seeing any of them for seven years, between the period of 2003 and 2010.
He airs his opinion on what he terms “cheap rappers”and how they aren’t strict enough.
On a lighter note, he talks his favorite meal by his wife, exotic locations for vacation with her, what he drinks these days, the kind of car he drives (and since he used to fix cars before his rap career kicked off, does he fix his own?)
We wrap up the interview with the million dollar question (literally, I might add): How much money do you make?
Let’s Meet | Yeoville Radio
by Tseliso Monaheng
“Yeoville Radio is Kwela and his imaginary pirate radio station that plays whatever music we wanna play. On the real though, it’s Kwela and whoever is keen to work and make boundary breaking music”
Kwelagobe Sekele hits up my Facebook inbox a few hours after I'd sent him an e-mail. He wants to know whether I've received the reply, which I have, but have yet to acknowledge receipt. He's fresh off a weekend performance at the Soweto Theatre, which saw him collaborate with former Sankomota drummer Sello Montwedi. It was also a mini-reunion of Kwani Experience, the influential band he fronted throughout the 2000s. The gig turned out amazing, if the photos and video evidence are to be trusted.
Kwela's been involved in other projects since Kwani went on hiatus -- because friends who make music together don't really split up. The last one was the PO Box Project's Maru EP. "The title is also an indirect homage to Bessie Head who wrote a book by the same title. This is my little 7 chapter book," he'd said, shortly after the project was released.
Kwela had been PO Box since his Kwani days, so maybe he thought to switch it up altogether. Address him as Yeoville Radio henceforth.
How would he describe this new project, I ask via e-mail.
"Yeoville Radio is Kwela and his imaginary pirate radio station that plays whatever music we wanna play. On the real though, it's Kwela and whoever is keen to work and make boundary breaking music," he says in response. A few months earlier, we'd kicked it on some lo-fi tip one off-beat day in Jozi. He'd broken it down to me like this: He was tired of the city; of Joburg. He sought to be elsewhere, some place where he could practice his art freely. Or maybe he'd said he needed to breathe, I can't exactly recall.
Whatever the case, Kwela -- or Yeoville Radio -- is now stationed in-between North America ("Mostly in Canada, to be precise") and Mzansi Afrika. He's a traveller at heart, and Mzansi's quick to renege on its promises to honour its heroes. It forget its travellers.
Kwani Experience, the 8-member outfit which consisted of did a lot for the brown band scene in Joburg and its surrounds during their run. They -- alongside bands like UJU, Blk Jks, Tumi & The Volume, early BCUC and Impande Core, and others -- carved a space in South African music, then dominated by Kwaito, and by House music. Their space was pan-African, and militant, and filled to the brim with pride. Their live shows were righteous riots.
Kwani was also hip to their forebearers, the likes of Sankomota, Harari, Batsumi. When Pops Mohammed wanted to do electronic music (he produces under the name The Fucharist), he reached out to the band. This was around 2007. Kwani's debut album The Birth Of Mudaland Funk (Sheer, 2005) had fucked with the brains of a youth craving for something that wasn't speaking down to them, for one, and wasn't Kwaito or House music either -- though elements of the two could be infused in the resulting experience, to stretch the pun.
The sophomore Live After Birth followed in 2007, but not after a lineup change which saw a radical shift in the band's direction.
A shit-load of dope things have happened since then. Through it all, Kwela hasn't lost the militancy, the urgency of Kwani Experience. And his politics have percolated, too. Following a recording session he organised to respond to the 2015 xenophobic attacks, he said the following: "I feel like it's more Afrophobia, because whatever happens -- all the attacks and all the violence --is directed at Somalis, Zimbabweans, Zambians, and other people from the continent. This song is the voice, and it's the voices of all those migrants experiencing that Afrophobia in a city that was built by migrants; in a city full of immigrants."
Besides travelling and creating anew, Yeoville Radio's been awarded a grant by the live music development initiative Concerts SA's Mobility Fund programme, "a touring platform funded and administered by Concerts SA which offers opportunities for South African musicians to undertake live music tours" according to their website, Says Yeoville Radio of the grant: "A program like this needs to be sustained because it benefits our SADEC live music circuit and develops future audiences."
He's also currently promoting the project's first single Pfukani, an homage to "the nine-to-fivers, the Afroprepreneurs, and the low-wage earners working to earn their bread in a continent of stark disparities."
Going back deeper in our Facebook interactions, I find a gem of an unpublished interview excerpt where Kwela shares his Jozi rap story.
When did you fall in love with rap music? What ended the relationship? What's the current status of that affair?
I discovered rap music in the 1900s. Mid-90s, listening to Snoop Doggy Dogg etc and watching BOP TV. It was only later around '97 that I fell in love with rap and rapping when a high school friend who was older than me handed me a copy of KRS One's 'I Got Next'. I wish I had discovered KRS earlier though but the township happened to me. My first rhymes were for a rap battle, which I won. Silly, huh?! The relationship never really ended. I still appreciate rap although personally as a musician, rapping is a chore I like to avoid as I feel like we've outrapped ourselves. I'm more interested in music, being a vocalist and exploring infinite possibilities with the voice. And I just keep going in deeper and deeper, like my name Kwelagobe.
And emceeing: besides the need to sharpen your English language skills, what drove the passion to spit? Who were you bumping? Who were the 'influential' names in and around Jozi rap circles then? Did you ever attend the Le Club sessions? And what about the ciphers at Ghandi?
The concept of rap, the idea of rapping, had me hooked from day one. I was like, "I can do this". I attended Le Club, then Metropolis, a lot. Wrote a lot, smoked Mandrax, drank Crystal & Black Label, kissed girls, smoked weed and discovered Biddies, many talented rappers and hated fancy rappers like Jub Jub and Infinity Players. Was at Van Der Bijl Square (Ghandi Square) every other Friday with Osmic, Cybernetic, Movice, Asylum Trybe etc. Also Kine Centre on Commissioner, back when Mak Manaka was Slow Poison. Used to look up to Robo, because he's one of the leading cats who gave me attention, back when Pro Kid didn't lift weights. Hung out with Asylum Trybe and my crew then, U.R.O (Unidentifired Rhyming Objects) and used to admire Skwatta Kamp (when Slikour was Phantom Slick), Victim (Vikinduku), Slingshot, Dot Com (the real Dot Com), Shugsmakx Smaxx, Young Weapon (Waddy/Ninja aka "I was born in the year 2000 and 6"), DJ Bionic, DJ Blaze, Snazz The Dictator, DataBase (with Tumi playing FatBoy). All these cats were influential in some way. Pre that, I was bumping Bophuthatswana (BOP) TV at home and they had Das Efx, WuTang, Craig Mac, Tupac. I was listening to Snoop before a high school friend came to me and said, "You are listening to crap" and gave me KRS. That period was the foundation. It's all in the past now.
King Lutendo- Electric Jungles Review
by Mayuyuka
I don't know how to describe this. I play the track back and push my earphones in to catch the line I missed. As I watch the train majestically glide by, I'm simultaneously enticed and disoriented. This project feels precisely like a train ride actually, it's got stealth and motions steadily... then jumps at you in sudden clunks of unexpected musical trickery! This only serves to keep you in suspense through the silence between each track though: not knowing exactly what the next cut offers. It's much of the same feeling between each of King Lutendo's projects. Sifting through his music reveals the artists knack for exploration, in the eclectic sounds found on Melancholy, Genesis Of Seeking and his Soda EP. For now, we're jamming to Electric Jungles.
It's a ten track offering by the Venda rapper who spreads his time between Venda, Cape Town and Joburg. It's a weirdly engrossing journey with no clear destination; but that's a huge part of the appeal. I love the fact that this offering has me engaging with it intensely! I hate the fact that I don't think I get it though. It's like bumping into an old friend you've never met: it's progressive yet has all the qualities I'm nostalgic for.
“The versatility here is reflective of a multi-faceted artist who is unafraid of experimentation.”
From the traditional instrumentation infused on Room For Angels, to the garage Hip Hop of Line One... this EP wraps the best of him into one.It's easy to get into Electric Jungles for it's audacity to stand out. It flies in the face of any trends you might have been exposed to yet. In fact, the title is exactly what the sound represents: an immersive experience with equal parts “how did I get here?” and “I'm glad I got lost in this”. It fits that the artist asks you to “leave anything beneath you... in the lair of his new jungle”. It's definitely left of field, boasting the palpable strains of electronic music working in tandem with the punch of raw Hip Hop.
Apart from maintaining a steady output of music, King Lutendo oozes originality in spades. A combination of trippy beats, progressive melodies and an unpredictable flow separate him from the rest of the pack. Oh, and I'm a sucker for imaginative basslines; you get that too here... particularly on the Rabbit Hole Interlude! The stand-out joint has got to be Gasps though; so dope... the hook, the off-beatness of it, the vibe! The versatility here is reflective of a multi-faceted artist who is unafraid of experimentation. That's precisely why this EP resists description, and I don't know if that's for everyone. It's a perfect soundtrack, perhaps, for the wayfaring stranger who's “been lost for a while now” as expressed In The Forest Part 2.
lutendoTowards the close still bewildered and barely escaping my trance-like state, his lyrics on the more heartfelt Winter 010 ring in my ear “hope you find somebody, deep down I wish you don't... I really hope you forget me, deep down I wish you won't”. Well, musically it's a memorable effort from an artist so comfortable in their uniqueness. Although I don't know if I'll find myself back here particularly, I'll definitely be looking out from now on... so wish granted! In the meantime explore the Electric Jungles for yourself and find out what King Lutendo had to say when we caught up with him.
“I like for the overall sound to be as expressive as possible, almost like the music version of Basquiat.”
AHHB: Who's King Lutendo and what does he represent?
King Lutendo: I'm a 23 year old custodian for the arts. I'm a rapper, producer, illustrator and designer. I was born into a musical family so I was taught from a young age to stand for expression and creativity... that has always influenced my approach to life and music
How's the music industry for Venda artists, especially in Hip Hop?
KL: When I had initially started around 2005/6 there was pretty much no platform for us rappers from Venda, but as soon as I started getting national radio play it not only helped create a mark for Venda hip hop but also inspired a lot of younger artists too.
How would you describe your sound?
KL: Well I approach the way I make music the exact same way I paint, I like for the overall sound (and not just the lyrics) to be as expressive as possible, almost like the music version of Basquiat. If I had to put it into a word I would describe the sound as cinematic. I like to imagine I'm creating art film soundtracks when I make music, with the story already told in the lyrics.
Your ear for beats is petty unique, what do you look for specifically?
KL: I produce all of my own beats from scratch, that may explain why the sound on a lyrical basis and on a instrumental basis are almost synchronized. There are two things that are my personal favorites when making music: synth keyboards as well as drums. I also like having beats that switch in between if I feel like the song can carry more than one story under the same theme.
You put out a lot, I mean.... a lot of music. Is it easy for you to be so expressive?
KL: I spent so much time in my younger days at cyphers, freestyling and battling. I worked so hard at that skill that writing lyrics and songs has become just a slightly more structured form of freestyling. I literally discover a new sound every other day, so that way I'm able to put out a lot of music. I find that the less afraid you are to run out of ideas... the more you can do.kl
In one of your lines you say you're “time traveling in a DeLorean”. Do you think you might be ahead of your time in relation to the sounds in the Hip Hop scene at the moment?
KL: I definitely think so... I'd rather contribute to the movement of the culture as a whole, than the culture of the current trend. I'm making music that people will still be able to jam to even after the trap wave has passed. So when I get into the studio I make sure I have no mental reference to any songs out there; so whatever ideas I come up with are completely new. Also I feel like most artists and producers are playing by a guideline that is too safe... it makes for good music but nothing memorable! I like to make music that might not even fit this year or the next, maybe the year after that.
Do you think people vibe with your unique sound?
KL: Yes they do, at first when I started I was always worried about whether people would vibe to the sound based on how different it is to everything else, but I learnt later in my life that all art has fans. As long as you make the art... people will want to see it. Also people have always respected how versatile my style is as every project sounds like a completely different version of me.
Local musicians are often described as sounding 'international'. Do you get that often... like your style might fit better overseas?
KL: Yeah I get that a lot, I mean when people make descriptions of things they've never heard or seen they reach for the closest reference to compare it to, even if it's not similar. I think based on the fact that the genre itself is western that makes people automatically make the link. Even though this has been said about me, I know for certain the sound is different to any sound even out there. Just based on the fact that people out there are more accommodating to new sounds; it may fit better there... but I feel like such a lane can be created even locally.
Lastly, is making or listening to music more important to you. What do you listen to?
KL: I'd say listening is more important, I learnt a lot of the technical side of music production just by listening to how international artists arrange their instruments. I'm a big fan of synth-based alternative rock bands like Miami Horror and MGMT. As far as rap, I listen to a lot of Aesop Rock, Kanye West, Childish Gambino and Big Boi from Outkast. Basically the guys who are never scared to push the envelope!
Meet The Muffin Man, Youngsta’s Performance DJ Since 2010
by Sabelo Mkhabela
Midway through his performance, be it at Rocking The Daisies, the Cape Town International Jazz Festival, or some show at The Assembly, the rapper Youngsta will pause for a few seconds. His performance deejay, a petite figure behind him, whose face is shadowed by a baseball cap, will tap the pads of his MPC drum machine robustly. Beat heads, and music connoisseurs will catch the Holy Ghost.
“Ladies and gentleman,” Youngsta will say to the crowd, “this is The Muffin Man. The beat you just heard now, he made on the spot. He is freestyling.” The rapper will then tell people in the crowd to lift up some objects, and he will bust a freestyle about them.
Youngsta and The Muffin Man have come a long way, since meeting in 2009 in an event in Ottery, in the southern suburbs of Cape Town. “I had my first mixtape with me – it featured various artists. I played him the CD, and two days after, we started recording,” says The Muffin Man, in a soft baritone. He has a few minutes to spare and chat with me, as the producer Arsenic is setting up the sound system at SAE in Woodstock. DJ Switch is chatting to Youngsta about the deejay’s latest rappity rap single “Now Or Never”. The guys are here to rehearse for Youngsta’s upcoming Skyroom Live performance.
The Muffin Man, real name Brandon Court, is an ordinary 25-year-old from Landsdowne. He says one of the reasons he got into music production was to help guys in his ‘hood who were “going through things.” “Not everyone plays sport,” he says, “so the music was an alternative outlet.”
Youngsta had no “things” to deal with, however – just a hunger to rap. The Muffin Man was the very first engineer to record him. They recorded about 18 songs in the nine hours they spent at his studio, on their first session. His equipment at the time wasn’t up to standard – he tells me they recorded some of Youngsta’s material with a karaoke microphone.
Youngsta's work ethic and hunger was outstanding. “At the time, he was doing verses in one take,” says The Muffin Man. “I could see this was what he wanted to do – he’s gonna die a rapper. There was nothing else that was gonna interest him.”
The Muffin Man backing Youngsta at Sneaker Exchange Cape Town earlier this year. (Image: Sabelo Mkhabela)
Youngsta, who has made it a point to shine in every song he’s featured on, is one of the most promising rappers in South Africa currently. He’s on songs with Tumi, Stilo Magolide, DJ Switch, but he tells me he will never desert The Muffin Man. “He is so humble,” says Youngsta, “I’m always telling him that without you, I couldn’t have achieved what I have.”
When Youngsta recorded about 24 mixtapes in a period of 12 months, between 2010 and 2011, it was mostly with The Muffin Man. “When I met him,” says Youngsta, “he already had a name in the ‘hood. One of the things he did was he would deejay in these R10 parties. Everyone in the southern suburbs knew this guy. And people in school were like, ‘there’s this guy, you must meet him, maybe he can help you.’”
Youngsta and The Muffin Man’s first street hit was “G Spot”. It was the first song they had a professional video for.
The Muffin Man became Youngsta’s performance deejay by default. When the rapper opened for Lil Wayne in 2010, The Muffin Man was the one on the decks. Youngsta reminisces about their early days. He’s more proud of the shows they did while still trying to get their names out there. “The shows where we used to come on stage and people would laugh at us because of our names. I mean, ‘Youngsta and The Muffin Man,’ it sounds like a cartoon show. When we went to (DJ) Azhul and (DJ) Eazy’s show, they were like, ‘That sounds like something my daughter watches on a Saturday morning.’ I will forever cherish those moments.”
The duo’s early performances were a matter of trial and error – testing out songs, setting the popular ones aside for the next show. “We had two songs that we were absolutely sure about,” says Youngsta. “Songs we knew that no matter where we performed, they worked.” He laughs when he tells me they have performed in weddings and birthday parties, before he continues, “But two songs is too short. So I said after those two tracks I’m going to freestyle to engage the crowd. So by the time I do the last track, they’re with us because the freestyle has won them.”
The Muffin Man is currently on a recording hiatus. It’s been three years since he recorded. He’s focusing mostly on his haircutting business – Mobile Cutz, which has been running professionally for two years. You’ll normally find him in events, like the Sneaker Exchange, with a chair and a portable kit bag.
He has been cutting hair since high school. After working at a barber shop for sometime, he had an epiphany that people aren’t always keen on going to the shop to get their hair cut. “So I took the barber shop to them,” he says.
Just before The Muffin Man joins Youngsta, DJ Switch and Arsenic for the rehearsal he’s at SAE for, he reveals he will be making a return to the recording business, but for now he’s focusing on elevating Mobile Cutz, because it’s his main income. And of course, he is still Youngsta’s main performance deejay.
Kideo is just trying to make spaza sound fresh, but not everyone is pleased
by Sabelo Mkhabela
written by Sabelo Mkhabela and Sipho Fako
Kideo, though menacing on wax, doesn’t talk much in person. When I’m not asking him any questions, he’s mostly silent, passing a blunt back and forth between him and one of his boys. The rapper’s going through a transitory phase, as he’s steadily working on his first solo mixtape, Spunk Reign. As he moves on with the times, not all his fans are impressed with his new sound.
Circa 2008, Kideo was a deity of some sort, in spaza (Cape Town Xhosa rap), which was popular at the time. The rapper, the youngest member of the then-popular five-man group Backyard Crew from Cape Town’s biggest township Khayelitsha, had struck a balance many emcees spend a lifetime pursuing.
Hip-hop heads respected Kideo for his clever wordplay and slick delivery. So did the casual listeners for his humor and “swag” – a concept that was frowned upon in the subgenre that was built around social consciousness and street-centric rawness.
On both his solo and Backyard Crew tracks, Kideo proved himself over and over again that he wasn’t a chancer. For instance, his 2008 track “Iphupha” was pure genius. On the track, which is a gymnastic roller coaster of emotions, he plays around with the concept of death, throwing some humorous similes and metaphors. Towards the end of the track, he asks death to give him more time on earth by starting its mission in another house: “Kuluzizi lusizi ndiziva ndi-dizzy/ kufa asseblief khaw’qale kweminy’imizi.” He was rapping over whizzing pads anchored by a head-bobbing rhythm courtesy of the Backyard producer Mashonisa.
Kideo has always been next-level, and he’s not showing any plans of slowing down. In 2016, now rolling solo, he’s still sharp as ever, as indicated on songs like “Mtye Mali Yakhe” – a cautionary tale of a typical payday weekend in the ‘hood that involves well-off young men drinking themselves to a stupor and humping whores, among other hedonistic missions. The rapper’s storytelling is still unmatchable. Let’s not get started with the slang on “Pizza Zamadoda”, the first official single to Spunk Reign. Or his relentlessness on “Nku Axo”, a diss track to fellow rapper Axo.
The 26-year-old rapper’s on a mission to, in his own words, “make spaza fresh”. The subgenre has lost the momentum it once had. A lot of artists are distancing themselves from it. One reason is because, save for maybe Driemanskap, Kanyi, Pzho and a few others, there aren’t that many success spaza stories.
Given his rapping skills and his willingness to progress with the times, Kideo still stands a chance. “I’m planning to make it big,” he says as we chat in the studio in which he’s recording Spunk Reign, in Khayelitsha. Killa B, the producer of his latest single, “Show Off”, is chatting to a few of Kideo’s peeps, who are also rappers. On the other side of Khayelitsha, people are queueing to cast their votes for the municipal elections.
Kideo is not about that life. He feels voting doesn’t change shit, and he says it so nonchalantly you can tell he genuinely has no ounce of interest. Today’s just another day in the ‘hood for him. He’s hanging around the studio, a backroom shack behind his producer’s house. He’s rocking a high school blazer, knee-length black shorts and black and grey sport sandals.
He chants “Spunkrrrrr” in the adlibs on “Show Off”, which is playing in the background as we chat. Spunk is a subgenre of spaza, he says. “It’s a new colorful lifestyle mixing fashion with music,” he says. “We fuse spaza with crunk – we use 808s and synthesizers mostly.” Well, it’s not really crunk, it’s trap. But the term “crunk” has stuck to spaza heads, since the late 2000s and early 2010s when cats who were rapping over beats that had pattering snares and hi-hats instead of a boom and a bap, were sneered upon. They were known as “iicats ze-crunk” – crunk cats.
Kideo himself, was deemed “uLil Wayne Wasekasi” – the township Lil Wayne. He admits that Weezy was and still is one of his inspirations: “I used to rap over a lot of his beats. I had a hit track called ‘Move’ which I did over Lil Wayne’s ‘Ransom.’ And other songs.” This Weezy influence led to Kideo trying codeine – which he went to use for two years. “I’m clean now,” he says. He tells me that after I ask him about a line from "From The Era" a song by the popular spaza rapper Ndlulamthi – “I’m from the era iBackyard ibizom’lelwa uKideo kwaba bathi uy’parapara” – the line basically insinuates Kideo is on drugs. “Maybe it’s the energy I bring when I perform,” says Kideo with a chuckle. “And I also have a motto: ‘I’m on drugs,’ which means I’m powerful.”
Another trait he shares with Weezy is his consistent music output. His Kasi MP3 and SoundCloud pages are full of albums worth of music, a reasonable amount of the songs “freestyles” and “remixes” of rap hits like Juicy J’s “Benz A Make A Dance”, Young Money’s “Roger That” and others. He tells me now, though, that he is done giving out his music for free. He also plans to sell merchandise with his album. Basically, the only language he speaks right now is money.
Which is understandable. It’s been a long road for Kideo, and not one that’s been smooth, too. He smiles shyly when he relates the tale of how he became a Backyard Crew member: “I started getting involved with Backyard Records in 2003.” He was 13 at the time, having started rapping at eight, inspired by kwaito, particularly the artist Gciwane, who rapped in Xhosa.
“In 2009, while in grade 11,” he continues, “I did songs at Backyard Records, and the Backyard manager asked me to join the crew.” He had met Phoenix, one of the Backyard Crew members, in high school, who then introduced him to Mashonisa, the producer responsible for all the brass-laden bangers which became the Backyard signature sound.
“He was making beats,” says Kideo about the producer, “but they weren’t rapping over them. He thought he was wack.” He chuckles before he continues, “I recorded my first track by him called ‘Nongqause’. It only had one verse. Some guy from Masho’s school stole the track, and it leaked. That’s when I got excited because people started knowing Kideo.”
The track saw a rudimentary but promising Kideo rapping over a pure Fruity Loops beat which barely had a snare. It consisted of hollow strings that had no effects or tweaks – Mashonisa was still an armature. It did however indicate the direction he was taking with his production. Though he hasn’t been on the scene in the past few years, Mashonisa’s name is still hailed with a unanimous reverence among spaza fans.
Backyard Crew had a great run in their active years. According to Kideo, they wanted to take spaza beyond the township by performing in gigs in the CBD, which they did. The crew’s video single “Baby Girl” got some spins on the national channel SABC 1.
Their 2009 album Sebenzel’eYadini is a collector’s item. All crew members – Mashonisa, Pointwo, Phoenix, Van de Merwe and of course Kideo – were exhibiting their diverse personalities but the project was still a coherent body of work with a monolithic sound, and it still managed to elude monotony.
The tragic death of two Backyard Records members Chankura and Van de Merwe, in 2012 crippled the crew. In an earlier interview I had with Kideo, he told me that was some form of a wake-up call to him. It acted as a reminder that he wasn’t going to be here forever, and so he wanted to make the best of his time while still on this realm.
Which is why he’s adamant on releasing his first solo album, which was due in June, but is suffering a major delay, because the hard drive his songs were saved in recently crashed. He was eight tracks deep. He’s now planning to drop the project in September. “It’s a blessing in disguise,” he retorts, slouching on the studio couch, “because I’m gonna work on new music. I feel inspired.” He still hasn’t finalized the features on the project. He told me earlier this year he was planning to work mostly with “new school” producers, and of course Mashonisa who he refers to as “my Dre”.
The criticism for Kideo from staunch hip-hop heads right now is real. It’s mostly on Facebook – fans who knew the rapper since his early days aren’t too pleased with the new direction his music has taken. But Kideo’s a natural renegade. His stoicism can easily be mistaken for defensiveness when he says “I don’t care about those [who don’t like my new music]”. But he really doesn’t care. He tells me his fans, who he stays in touch with via Facebook, have already committed to buying the album when it comes out.
Though he doesn’t articulate it, Kideo is clearly that kind of artist who gets bored with doing the same thing over and over again. Even if it means replicating other artists, which is something one doesn’t get away with in the spaza scene. For instance, his track “Messed Up Nomakhwezi” – released around 2010 – with a rock influence and deliberately off-tune singing, was an obvious lift of Lil Wayne’s “Prom Queen”. It was at this time that the rapper started losing some fans. They started making comparisons between the old and the new Kideo, and consensus favoured the former. He never slowed down, though – he kept on churning out spaza trap bangers.
His latest single “Show Off” indicates that the rapper is aware of where hip-hop currently is. Apart from the burly trap production, on his verse he chants like he has hiccups, he spits his Xhosa bars discretely – adopting that flow made popular by Rae Sremmurd and other modern hip-hop artists from the US. His Xhosa is still intact, his lyrics still lofty and replete with comical double entendres.
He may have changed a bit, but one thing he never did is fall off. Hip-hop heads are stereotypically anti-progress, and Kideo is a victim.
Listen to a playlist of some of Kideo's key tracks. His album is due for a September release. Get at him on Facebook.
We spoke to the SA-based Ghanaian artist C-Tea about his new EP
by Sabelo Mkhabela
C-Tea, a producer and vocalist from Ghana is on the come-up. He has songs by the likes of Sarkodie, Bolo J and Davido bearing his production credits. The man also recorded and mixed most of the Swazi rapper 80 Script’s EP You Do The Dishes (read our review here). C-Tea moved to South Africa in 2012, and recently released an EP called I’m Alive which caught our attention. We threw a few questions his way.
Interview done by Themebelani Gina
Who is C-tea?
My name is Jonathan Takyi Mensah aka C-Tea. I am a young afro pop singer and producer. Humble and I love God. I grew up in Agona Swedru in the central part of Ghana.
Tell us how you got or came up with the name C-Tea?
In secondary high school back in Ghana, my friends called me Cocoa tea just because I use to make the best Cocoa tea (hot chocolate) in school. I never expected nor loved the name but it stuck, so then I decided to shorten it to C-Tea.
You started off as a producer then branched into a recording artist. What inspired the move?
Growth was a big part of it; I did not want to limit myself to just only one aspect in my career since I had the passion for singing too.
What is the biggest challenge for you as a music producer?
My main challenge is the people that I work with. People tend to want the full job done but they don’t like to pay the required amount or the amount that you charge, therefore it is very easy to get ripped off, especially by people who have known you for a long time.
You have worked with Sarkodie, Bolo J and Davido. Are there more big names we should look out for in the near future?
Yes, there are big names but I would rather let that be a surprise for everyone and keep people guessing.
You are a Ghanaian artist based in South Africa, how have you been received by the locals, both fans and other artist?
The reception is good and I need to get myself to the people more to gain more fan base.
Tell us about your EP “I’m Alive”.
This EP basically gives you a clear understanding of who I am as an artist. It is versatile; there is a little bit of something for everyone. The EP came about when I actually started understanding who I am as an individual and what my purpose is. The title says it all, I am now alive and ready for whatever comes my way. I have now decided to be alive in music and not let myself die in my career by things that surround and distract me from being focused. I only understand that perfections will only exist when you constantly practice.
There are a lot of successful self-taught producers. How did going to school help your production?
I got to have more understanding on the little that I already knew and also got a better understanding of the business side when it comes to music. Going to school also got me more informed and made me more technical about things.
Take us through C-Tea’s Song making process?
Start by saying a little prayer, start-making melodies which gives me the idea I am going for while opening a new session. I then lay down the progression I got from the freestyle melody I was going for. I then build the drums, play the ideas that comes in my head and then the arrangement. After arranging, I then start recording the freestyle to get the melodies I am going for or sometime write the song and now find melodies to it. I then head on to record, believing in my heart that it’s good. I then export the raw song and listen over and over again for a couple of days to see what needs to be fixed or added, then I come back to finish to project
We Spoke To Gigi LaMayne About Her New Deal With Mabala Noise
by Phil Chard
Soon after Gigi LaMayne announced that she would be singing with Mabala noise I got hold of the young rapper via chat to discuss her new deal and why she decided to take it. The normally outspoken and talkative rapper played it very coy and refused to share much beyond what was absolutely necessary during our conversation.
HI Gigi , can you tell us about your recent signing to Mabala Noise?
Gigi LaMayne: I'm so excited to be a part of a stable i can call home. I needed a lot of guidance on an A&R level and because of that, I had to make the switch to Mabala Noise. Please trust that this is the beginning of an African Music Empire.
What made you decide to sign with them?
I needed a record label. A home.
I'm sure they weren't the only label looking to sign you. What did they offer you that other labels cannot?
Unlimited support musically. I didn't have to focus on anything else other than music
What do you mean by unlimited support?
Studio, PR [Public Relations], distribution, etc all in one.
Are you able to share any details on the contract you signed?
No unfortunately. Not yet
Mabala Noise also do event promotion, has their been talk of a tour for these new artists as yet?
I can't say yet.: 😂
What about iGenesis? Any updates on its release now that you are signed?
It's gonna be sooner than people thought
Oooh. How many songs have you recorded thus far?
18
Wow. How many are you hoping to keep on this project?
Not sure. We are still to decide
At the press conference there was talk about elevating local acts to a point where they could demand R1,000,000 booking fees locally and abroad. How does Mabala plan to do that?
I think you need to speak to a representative of Mabala Noise. Not an artist. Lol😂
Gigi LaMayne was also interviewed recently by AfroPop Worldwide for their new podcast series. During the interview Gigi discussed #FeesMustFall and why so few rappers of her generation are speaking out against political issues .
MI Talks About His Upcoming Projects & Finding Value In Being A Nigerian
by Phil Chard
Chocolate City Music CEO MI recently appeared on Nigerian talk show Rubbin Minds where he discussed a number of issues with the show’s host Ebuka Obi-Uchendu. During the 20 minute chat MI spoke about how he runs the label, the artists under it and Choc City’s plans to transition into a business akin to what Universal and Sony have built overseas.
When asked about the state of his career however MI shared some interesting thoughts regarding upcoming projects and his view on going international
Ebuka : Are you happy with where your career is now? You have in the industry for 10,11 years now.
MI: I think the fact that I'm happy as a person and trying to find balance as a human being first, it takes a little steam out of a career because you need to take breaks, to spend time with your family, to be personally fulfilled. You need to secure what you're gonna do next. So me being a CEO and working at chocolate city and planning the next thing after I've been an artist. Personally I'm completely happy, of course you are never meant to be satisfied. You always want to have hunger to do more. For instance 2Face [2Baba] and I are doing a series of projects this year and I'm like a kid in a candy shop looking forward to what's gonna come out if it. Jessie, Ice Prince and I have spoken about doing an album together. I got like 2,3 albums that I'm working on. I'm excited to make music, I'm excited to perform, I'm excited to keep going. But you also want to be happy as a person and say hey let's turn off the lights now, I need some time for myself now.
Ebuka. do you feel you should've done more international work by now?
MI : You know I'm very weird about the international thing I'm not interested at all. I'm interest in building in Africa. I'm interested in building in Nigeria. The biggest thing that we can do internationally is set up our business and our industry right here. America is very funny… when I first came out I was one of the guys that was seen as “you should go international, you should do this “. I just lost interest with that and I said wanna I come back home and work on what's happening back home. It doesn't seem glamorous but that's really our way to the top. For you to be successful in America you need to be American. There culture is so closed and complete. Nobody is gonna listen to you talk about Lasgidi in America. They want you to talk about about 57 Street and New York. I don't want to do that. I want to find value in being Nigerian. I want to find value in my language, in my neighbourhoods, in my people.
Wise words from about finding value within before we look for external approval. I cannot wait to hear what else MI and 2Baba have been cooking up. You can their song Babylon here
SK Baleni on Working With Gabi Le Roux, His Debut Project, Hip Hop In Worcester & More
by Sabelo Mkhabela
A few years ago, Sakhile Baleni had a regular 9-to-5 for three years. But he realized it wasn’t for him. “I wasn’t satisfied,” he says. “There was a big hole I had to fill.” He wanted to make music professionally. Typically, his family wasn’t impressed. “One day it will make cents,” he told them. Which became the name of his debut project, which he just released.
Sakhile raps as SK Baleni. He reps the small Western Cape town Worcester. He worked with mostly artists from there, on One Day It Will Make Cents. He produced most of it, under the moniker Six Eight.
SK is a dope rapper, and his talent, a few years back, caught the attention of South African veteran producer, Gabi Le Roux (the man behind Mandoza’s “Nkalakatha”).
Things didn’t work out in that contract. He decided to go the independent route. We haven't heard the whole album, but the few tracks we've heard (including "Stronger", the lead single) tell us the project is something worth your time and money.
Listen to an interview with SK Baleni, below, where he talks about his debut project, his deal with Gabi Le Roux and his ambitions, among other things. He showcases three songs from the tape, and does a breath-taking live wire, which you can watch underneath.
Get at SK on Facebook and Twitter for a copy of One Day It Will Make Cents.
We Spoke To Poe About HIs New Single I Want U
by Phil Chard
With its uptempo sound that borrows from caribbean steelpan and bass heavy electro the Spax produced song I Want U promises to be one of Poe’s biggest hits to date. The song also features Tesh Carter, Tec, Saeon and Mojeed on what is a gathering of what I consider to be some of the most promising new faces i n NIgerian Hip Hop. I got hold of Poe to discuss his new single and when we can finally expect his highly anticipated Talk About Poe debut album.
AHHB: You've been consistently releasing quality work, it doesn't seem like you're getting the recognition someone of your talents deserves. Do you agree?
Poe : To be honest with you, yes and no. I do feel like any artist that considers themselves of a certain level feels that they should be getting much more recognition than they are currently getting. At the same time, key people from behind the scenes have approached me and said we see what you're doing and we want to help you take it to the next level and I think that's just as important.
AHHB : I just came across you new song I Want U and off the bat I feel like this might be your biggest hit to date.
Poe : I Want U was a collaborative effort. It's me and Tech from SDC, a very dope rapper called Mojeed, Saeon - her whole movement is picking up and Tesh Carter who sings as well and raps, she sings on this record. We were just in the same space at the time with the producer producer Spax. It was Mojeed’s birthday, we happened to be chilling and we were like we all make music, we are all here let's do something
AHHB: So What Is The Plan For the Single?
Poe we are trying to push this so far. We just dropped the track and we're getting a tonne of love from radio already. We haven't gone to all the radios yet but a number of OAPs [On Air Personalities] have been hollering at us to request it. One of the bigger ones has already put it as song of the week. We all believe it's a great song.
#ToolzSongOfTheWeek #NP 'I Want U' by @LadiPoe @TeshCarter @ShowDemCamp @SAEONMUSIC & @whoismojeed
— THE BEAT 99.9FM (@THEBEAT999FM) July 14, 2016
AHHB: When can we expect your debut project?
Poe: Man I want it so bad this year. There's been so many setbacks that have taken us a few steps back with the project. But I really hope I'm back on course. I'm working with two main two producers but I'm 6 tracks, 7 tracks in and I want to hit 10. I'm in London right now but I'll be back in Nigeria end of the month to finish up those tracks. I'm saying this year, Talk About Poe [The album title], let's do this!
The full interview can be found on the latest episode of the AHHB Podcast form the 1:01:00 mark
@LadiPoe @TeshCarter @ShowDemCamp @SAEONMUSIC @whoismojeed
I Watched AKA’s Interview on Sway On The Morning Then I Wrote Down My Thoughts
by Phil Chard
AKA has bad a busy two week stint over in the states. After attending the BET Awards the Super Mega made his way over to New York where he performed at the Every Afrique event on July 4th.
Yesterday AKA and DJ Fanatic also made their way to Shade 45 studios where AKA appeared on Sway Calloway's morning show. image001 (1)
No matter how hard we all try to avoid the AKA and Cassper comparisons it seems the two artists are almost inseparable when conversations about their careers pop up. Coupled with the fact that AKA was appearing on the same show that Cassper was on a week earlier, all the lazy journalists and timeline terrorists must have been frothing at mouth for this easy layup of a headline.
I tuned into the show yesterday to listen in live as AKA discussed a number of issues with Sway. From his career to his relationship with Protools Bonang, his daughter and his various achievements.
Sadly, once again, much like his compatriot AKA said what I can only deem to be damaging comments with regards to racial epithets and race relations in South Africa. AKAa basically echoed the problematic statements uttered by Cassper on the very same show. AKA's statements also resulted in him getting into a little tiff with a caller who took umbrage to his use of the N word his music.
AKA also couldn't resist the temptation to take shots at Cassper during his freestyle when he rapped "now begotten sitting in the same damn chair as Tsibib"
Disappointingly AKA was rapping his bars off his phone and only managed to drop 4 bars off the top of his dome before he stumbled and then rapped his verse from Bang Out.
The thing that I can't seem to understand is why in two consecutive interviews two of South Africa's and Africa's most popular rap artists went onto one of the three biggest Hip Hop morning shows in THE WORLD and failed to deliver when they were called upon to display their skills as true MCs.
@akaworldwide
Ice Prince Explains His Relationship With Chocolate CIty Music
by Phil Chard
Ice Prince recently stopped by The Juice to give his first interview on the show in almost three years. While on the show Ice Prince spoke about his new position at Chocolate City as a Vice President who recently signed his own imprint Super Cool Cats to the label. When asked about how he was appointed to be the Vice President he said“ It happened as an honour from my bosses, I am talking about Audu Maikori , I am Paul Okeugo who deemed it fit for me to be Vice President of Chocolate City Music. My role is really to mentor the artists and guide the artist and not sit in an office…..”Ice Prince also spoke about what it is like to have MI as his boss “MI has always been my president ... my mentor, my big dog” before Zamani discussed as now dual role at Chocolate City and running his own imprint Super Cool Cats, “It’s not that difficult, it’s just relationships, it’s just vibes, it’s just how you connect with each other” .
Ice Prince also discussed his current musical direction and was quick to point out that he has always straddled the line between Pop and Rap, before speaking on the drama surrounding his relationship with his current girlfriend that unfolded on social media a few months back and also what it is like being a celebrity dad.
Watch Riky Rick’s Interview on DJ Capital’s Rap Up Show
by Phil Chard
Riky Rick recently stopped by DJ Capital’s show on Cliffcentral to discuss a number of issues in a long and detailed interview. He kicked the interview off by addressing his ”if niggas can buy these awards, then I don’t I want them” line from SIDLUKOTINI and whether or not it was directed at Emtee, he also breaks down his lyrics about his reasons for leaving Motif on Le Mpitse.Riky alludes that he left Motif for the same reasons 50 Cent and G-Unit fell out. He also speaks on his past work with Da L.E.S and their Last Summer mixtape as well as his work with Gotti Gambino.
According to Riky every song on his debut album were beats that he sent to other artists who all rejected the music. Riky also touches on the formations of BoyZBucks and how Riky met OKMalumkoolkat and Scoop when OK was working at the Nike Store in Melville and Scoop was wearing AMA Kip Kip sneakers.
Boss Zonke also had a candid conversation about his drug addiction and why he decided to quit and go into rehab before he returned with Amantombazane as well as tackling the hard hitting topic of his recent choice of outfits at the SAMAs. Watch the full video above.
I Live Tweeted Cassper Nyovest’s Interview On Sway In The Morning
by Phil Chard
South African rapper Cassper Nyovest is currently in the USA for the BET Awards which will be taking place later this weekend. Before heading to LA, Cassper stopped by Sway Calloway's show in New York for an interview where the veteran Hip Hop journalist discussed Cassper's career , South African Hip Hop and the rise of African music as whole in the West.
The significance of this event was not lost on Cassper as he rapped "Back home they are listening and hoping I don't flop/I feel like the whole fucking continent is on my shoulders!" during his freestyle yet somehow I can't help but feel that he was somewhat unprepared to deal with the gravity of the moment. The sad truth s that when any African artist is allowed to be featured on a major Western platform they not only represent themselves but they also represent their nation, culture and the continent by extension. It may not be fair or right, but that is how the world works. So I couldn't help but feel disappointed when Cassper Nyovest proclaimed that he is known as the Kanye west of South Africa......[insert appropriate meme gif here] Can those that truly believe this notion and have proclaimed t publicly please leave a comment on this post or tweet me.
He also made some incredibly irresponsible remarks about racial epithets and how they are viewed in South Africa before he was finally given a chance to display his lyrical prowess on a radio freestyle. As far Cassper lyrics go the freestyle was going well, despite the small issue of Cassper mumbling a few words and getting caught off beat as he rhymed (so truly par for the course). I did feel he was delivering far too many lines in English and should have ventured more into his native Setswana where he truly shines as rapper. Not really gonna dwell on him fumbling the verse and rack that up to the nerves.
The annoying thing is despite his missteps I hate to always have to call Cassper out when I feel he has done a lot that needs to be celebrated and acknowledged. I am a fan of his work but as always seems to be the case when you're a Hip Hop fan - ours faves always seem to fall over themselves to remind us of their blemishes.
Cassper Nyovest On Sway - Curated tweets by PhilChard
Introducing Kid Tini
by Mayuyuka
Record label TinismDotc0m has unveiled their prized possession Kid Tini as the latest young rapper ready to stamp his mark on the game. Real name Phiwe Unam Tini, he hails from Butterworth in South Africa’s Eastern Cape and is actually the reason for his label's very existence! His desire to do music from a young age inspired his brother, Miso Tini, to build an environment which could nurture the skills he required to make it in the music industry: thus the birth of TinismDotc0m. With that weight on his shoulders, Kid Tini's breakout project carries a lot of expectations with it.
His debut offering, Coming Of Age, is a combination of his experiences, hunger, drive and passion all encapsulated in 18 tracks. The length of the mixtape is a literal reflection of both his age and how much work he's putting in. The project encloses well crafted verses backed up by effortless flows that definitely come with the self assurance of coming into your own.
The most palpable quality of this project is how the rapper presents himself: he sounds right at home on the mic, with an authenticity that makes it impossible to confuse him with anyone else! This is a musical journey penned by an adolescent that will gain plenty of respect from his peers and elders alike. In what's quickly becoming a crowded space of young up-and-coming rappers; you don't get the sense Kid Tini's trying too hard to prove himself and differentiates himself by faithfully telling his own story. With plenty of boxing references and smart punchlines, the sonic balance is achieved through mellow cuts like Sextape and Running Back To You that display a different aspect of the artist's abilities.
Over solid production from the likes of J Smallz, Tone Jonez and Digital Beatz the rapper's versatility is refreshing and promises some mileage well into the future. If he really does have your "role model tripping off his blueprint" it might be because of his ability to fuse elements of his influences whist moulding a distinct sound for himself. This is best reflected on the sincere track Ghetto. This song pays homage to the rapper's favourite local group Driemanskap by interpolating their track S'phuméGugs. Also accompanying that is how the melody of the hook salutes another favourite of his, in the form of Ludacris' Runaway Love.
He definitely won't be accused of having no respect for those that came before him! And with the delivery and lyrical content of someone beyond his years, it's no surprise he's “schooling dudes he was skipping class with”. Trying to whittle down this effort to a list of standout tracks is pretty hard between the hypnotic No Favours, Shay Wei, Addiction, Koze Kuse and the earworm Dreaming Out Loud. The beauty of Coming Of Age is how it puts Kid Tini's best foot forward whilst seamlessly catering to different palates.
With the release of the short video for his intro Fight Every Figtht, Kid Tini introduces himself to the world. Peep the visuals below and find out what he had to say when we caught up with him afterwards.
AHHB: Who is Kid Tini and how would you describe your sound?
Kid Tini: Kid Tini is a young dreamer from the Eastern Cape who loves to listen to and create music. My sound is a combination of everything that inspires me as an artist, this could refer to music from some of my favourite artists or art in general.
AHHB: You're only 18... where did all this begin for you?
Kid Tini: I started rapping at the age of 10. I told my brother who is also my label head that I wanted to make music after hearing some of his old work. I got inspired to pick up the pen and I've been writing ever since.
AHHB: In No Favours you speak about being under pressure. Is it because of being signed to family and needing to prove yourself more?
Kid Tini: Yes. Basically, I have a very professional relationship with my brother when it comes to the music. I guess you can say tough love and hard work is the motto. I was never given any shortcuts, hence the title of the song is "No Favours"
AHHB: Who were some of your influences coming up?
Kid Tini: My influences are the likes of J.Cole, Kendrick Lamar, Jay Z, Drake and Pac. I basically grew up in the studio, with this came perks of being able to watch artists like Ginger Breadman, PdotO and Kid X create music and that's usually the difference between what my peers think is dope and what I think is dope.
AHHB: You've only got a couple of collaborations on the mixtape. Can we expect more in future, anyone in mind?
Kid Tini: There are a couple of artists I admire. You can definitely expect features. I would really like to have a song with Kid X though.
AHHB: At 18 tracks long, you put in some work on Coming Of Age: what's your recording process like?
Kid Tini: I like being in an environment that allows creativity to flow freely. It all starts with an idea, the idea then grows into a whole concept and it keeps growing from there into a whole song. That's what I did with the project and before I knew it we had a full body of work.
AHHB: Preach is one of your standout tracks, when can we expect the video to drop?
Kid Tini: I'm not certain about the timeline about the drop as yet but it should be sometime in July
AHHB: Other than Dj Switch's Now or Never Remix, what's next for Kid Tini and Tinism?
Kid Tini: More music! There's a lot more I wish to share with y'all and I hope it will be received in a manner that allows for more growth.
AHHB: Finally, If you could ask a fan one question what would it be?
Kid Tini: I would ask them how to make their favourite song.
Meet JayDogg Beats, The Cape Town Producer Working With Ice Prince, DJ Speedsta, DJ Dimplez And More
by Sabelo Mkhabela
JayDogg Beats is a producer from Cape Town. He is silently working with superstars – the likes of DJ Speedsta, DJ Dimplez, Ice Prince and more. His biggest production is “Bae Coupe” by DJ Dimplez featuring Ice Prince, Emmy Gee and Riky Rick.
In the interview below, he speaks about how “Bae Coupe” came about, how he got to work with all these stars, how his life has changed, money, his current projects and more. He also plays some of his new material. Listen to the interview below, and check out his SoundCloud page.
@jaydoggbeats
Watch Lil Kesh get interviewed on The Juice
by Phil Chard
Lil Kesh recently dropped by The Juice for a sit down interview with Dorcas to discuss his career thus far and plans for the future. The Y.A.G.I Records head revealed a lot during his interview but these are the 4 main points that we gathered
Lil Kesh revealed details of his upbringing in Bariga Lagos . He also covers some these details in his recently released video of Ishe
Lil Kesh was unable to get a place UNILAG College to study Computer Science. So he had to settle for studying Linguistics instead before he dropped out to pursue music.
As a child LilKesh was a member of his church choir where he performed and wrote songs, he also played the drums.
Lil Kesh reiterated that even though he is no longer signed to YBNL the label, Olamide is still his close friend and YBNL still manage him as an artist.
@lilkeshofficial
The AHHB Podcast Featuring Award Wins, SABCs, Ice Prince , Anathi And The SAMAs
by Phil Chard
AHHB Podcast V 2
After taking a week off due to unforeseen circumstances (the movers bundling my equipment with the “stuff I don’t really need” box) we are back with another episode of the AHHB Podcast.
This week we have another highly entertaining episode featuring music from Kiss Daniel, Gemini Major, Akan, Worlasi, Phyno, N’veigh, Blaklez, PDotO, Ras, V-Way, Rosah-Joy, AY, Diamond Platnumz, Emtee and more.
We also have interviews with Anathi and Ice Prince and discuss all the latest news from across the continent, including million dollar lawsuits, bad contracts, The SAMA awards and much more.
Don’t forget to follow on Twitter @africanhhb & @PhilChard.
PS: I apologise for the acoustics of the episode, I am still setting up the studio at the new place.
Americana - Aspiring by Kevin MacLeod is licensed under a Creative Commons Attribution licensed
Source | Artist
Viber Public Chat with Rosah-Joy
by Phil Chard
The African Hip Hop Blog was chosen as one of Viber’s launch partners when they launched their new Viber Public Chat feature a few months back. Since it began we have experienced tremendous growth and engagement on the platform. We use our Viber public chat as a forum to allow for discussion and debate cantered around the African music industry and the culture. We encourage anyone interested in getting the latest news and opinions from influential voices across the continent to follow along. If you would like to be part of the debates and contribute, please get hold of me on twitter @PhilChard.or the blog @africanhhb
This week for our Viber Public Chat we interview Zambian artist Rosah-Joy.