Twin Atlantic - GLA

Twin Atlantic has a Good Looking Ass on GLA

When you press play, it knocks politely with somewhat muted tones, before it breaks down the door. After those first few seconds, Twin Atlantic’s latest album, GLA, makes an explosive first impression with its opening track, Gold Elephant: Cherry Alligator.

It’s their fifth release since a debut EP in 2008 (A Guidance From Colour), “mini-album” Vivarium, and two acclaimed full-lengthers, Free and Great Divide. They quickly built up a great reputation and within their first four years, had played supporting shows for Smashing Pumpkins, Blink-182, Say AnythingTaking Back SundayThe Gaslight Anthem and My Chemical Romance. Now, they decided to bring us 2016’s release, another full-length album called GLA.

The first single off the record, No Sleep, features a heavily distorted, insomniac singalong chorus, interspersed with funky, bassy guitar riffs, and infectiously catchy verses. Musically, it’s big, yet intimate – balanced between celebrating and contemplating: I was never absolutely sure whether the song is complaining about not sleeping, or embracing it.

And while that one was somewhat ambiguous, angry/bitter songs like You Are The Devil don’t need much interpretation, right? There’s also a fair amount of anxious frustration on the album in Ex El, for example, which focuses on a promise to change, and a desire for a different future.

Twin Atlantic - GLA

My biggest disappointment in the album is a degree of monotony – especially on the first half of the disc. Although every track is different, and dwells on different feelings, there are a lot of tonal similarities between songs. In a certain sense, it helps make GLA feel like a complete whole, independent entity, but there’s also a sense of everything melting into one. It gets broken up somewhat with standout tracks like Whispers, Missing Link, Mothertongue, and the acoustic sad-ballad A Scar To Hide, but those tracks feel very much like an advertisement break to specifically distract you from the 7-track streak that preceded it.

Maybe the only flaw I’m actually noticing is the almost-antiquated album format. If these songs were packaged and judged as individual tracks, they would have scored high by any measure. And for a successful modern band like Twin Atlantic, maybe this is the definite sign that it’s time to focus on singles rather than CDs. It’s not like anyone listens to albums straight-through and in-order anymore, is it?

If you love fuzzy, distorted, bass-rooted guitar riffs, driving, punching beats, and an exciting, lively brand of alternative rock, GLA is probably the album for you. Through it, Twin Atlantic proves that they’re not close to dying out or drying up. They certainly know their own brand of music, and they excel in it.

PS. has several definitions of what GLA might stand for. Though my favourite is Good Looking Ass, official word has it that in this case, GLA is the abbreviation for Glasgow. Or maybe it refers to the one of the playable factions from real-time strategy game Command & Conquer: Generals.

Twin Atlantic is an alternative rock band from Scotland. Their latest album, GLA, is out today.

Floris Groenewald

Floris sometimes writes things when he’s not watching movies or playing video games or editing videos or folk-rock singing/songwriting.

Medicine Boy - Kinda like Electricity. Photo by Stuart Scott.

Medicine Boy – somewhere between chaos and control with Kinda Like Electricity

Andre Leo poses a casual challenge: “Listen to Spiritualized’s Think I’m in Love when you’re feeling good, and when you’re feeling bad. Totally different.”

That’s part of the answer you get when you ask him whether Medicine Boy, his dream noise duo with Lucy Kruger, and specifically their latest album Kinda Like Electricity, is meant to be healing to listeners.

If they need healing, sure. Songs can mean different things to the same person, depending on how they feel. We hope our songs can be like that.”

Spiritualized is a big influence for them. So’s Nick Cave and the Bad Seeds. “[Their albums] Amazing Grace and Push The Sky Away played a big part in our approach to Kinda Like Electricity,” says Leo. “They are both very bare albums. Lots of space, slow-moving songs…”

And last year, Andre and Lucy got to see those bands live. “Seeing them and realising how powerful those songs are on stage gave us the confidence we needed to trust our instincts with this album.”

Medicine Boy - Kinda like Electricity.

Andre says that Kinda Like Electricity has a certain feel throughout and in consistent in its energy, “although there are a lot of different sounds and spaced explored on it. There are very human emotions explored that I feel listeners will relate to. ”

The band generally prefers that listeners take in the album as a whole, as opposed to the modern focus on singles.

It’s a weighty album at times, but a hopeful one.”

Medicine Boy - Kinda like Electricity. Photo by Stuart Scott.

Photo by Stuart Scott.

And it’s a very personal release for both Andre and Lucy. Both accomplished musicians individually, they find collaborative songwriting quite unpredictable. “Sometimes a song is more one or the other’s. Sometimes it starts together from the ground up. Usually one of us has a tiny idea and we work on it together acoustically before giving it legs in the rehearsal room.”

After that, they tread the line between chaos and control.

We’re not a jam band, but we don’t like to keep things too controlled either. The drum-machine element keeps it all in check but we definitely paint outside the lines. Travelling and playing different amps is always a bit of a gamble. Pedals react differently to different amps. I’ve got a very, very unpredictable fuzz sound and it can really rip apart a tiny amp if I’m not careful.
As for recording, I always record in the room with my amp. It’s like a dance or sorts between the guitar and the amp. And it’s pretty free-form shit.”

As much as Medicine Boy is a South African band, they’ve recently embraced Europe as a second home of sorts. “It depends what your goal is, but for us, it’s a no-brainer. It’s tough organising these tours but we have met some incredible people out there that have continued to help us.” They’re departing on another Europe/UK tour soon in support of Kinda Like Electricity, and hopes to visit the USA next year.

Medicine Boy will continue to bounce between chaos and control, healing those who need it, and fuzzing… kinda like electricity.

Medicine Boy is a dream noise duo from Cape Town, consisting of Lucy Kruger and Andre Leo. Their latest album, Kinda Like Electricity, is available on iTunes.

Floris Groenewald

Floris sometimes writes things when he’s not watching movies or playing video games or editing videos or folk-rock singing/songwriting.

Staring at the Sun, and how We Are Charlie fight demons

Note: This is part two of my interview with We Are Charlie. Completists should probably read part 1 first.

I’ve been sitting down with two members of We Are Charlie at Pop Filter Studios in Pretoria. I’m intrigued by what they tell me about their recording process. Beyond their straight-cut lyrics, they even strive for honesty and reality in the music itself.

“This time around,” lead vocalist, guitarist, and lyricist Dylan Christie says, “we really put in the effort. We said, you know what, we’re not going to go into the studio unless we’ve really put in the effort, listened to the songs, tried them out on stage, feel the song, and then we’re like ‘Okay, this one, we’re still not over it, let’s record it.'”

But that’s only the beginning. Pre-production with producer Nic Dinnie changes things a lot. “On the latest EP, that we just did now, we said no to quantizing, we said no to major editing. Obviously you have to a bit, otherwise 5FM is gonna say nay. But it was amazing. Everything was analogue – not even the shakers, none of the percussion is digital. We all had auditions with each other in the room, so we sat in a circle, saying ‘who could play the shakers the best?’ And it was Nic. Obviously.”

“And then there he is, rocking out the shakers in that room for like 3 minutes straight. His arm is just going.”

We Are Charlie - Let's Stare at the Sun. Picture by Lourens Smit

Picture by Lourens Smit

Most productions would leave something like this to pre-recorded samples, or looping a small recorded section. Not We Are Charlie. “Nic’s like, ‘that’s lame.’ Cause we were like, ‘shame dude, you don’t have to stay on,’ and he’s like, ‘nah; I’m gonna stay on for three minutes.’

Throughout the process, they also decided to stay as natural as possible – and that includes accepting some imperfect takes. Wesley Reinecke, the band’s drummer, sits on the couch next to Dylan, and explains: “Some of the tracks, you can hear me clearly hitting the rimshot of my snare. But we kept that stuff. Those few mistakes, that aren’t really recognisable, we try to keep them in the recording and not edit them out.”

Well, if it’s hideous,” Dylan says, “we’ll take it out. Or we’ll do another take. But we just got the best takes we could get, and worked with that. And it’s great for us, because I don’t really see ourselves us these massively experienced session musicians.”

I find these kind of open, unflattering admissions about themselves fascinating. They’re definitely unconcerned with painting a super-cool, polished image of themselves. “We just wanted to be the cool guys who smoked and was in a band in high school. And that’s how we went with it. And at this point we thought that we’ve put in enough effort and we love this enough that we just don’t wanna lie about it.”

They’re also less concerned with things like radio play. “This time around we’re like, ‘we’ve been on the radio,’ and all this kind of stuff, we might actually – there was a stage where we were like, ‘we might be dying out now, so we don’t care anymore.’ We might be a one-hit wonder, so let’s just do what we wanna do from this point on. And it’s been great since then. Even better than what it was in the past.”

This attitude obviously means that they aren’t very concerned with ‘Sophomore slump’ – though they’re quick to remind me that Yard Sale wasn’t their first release (Check out their first EP on Soundcloud). “I was sulking in my room, cause I couldn’t go to America, cause I wanted to be famous, and I played wrote some songs and played them to Wes. He digged them and we released this EP.”

I asked them when they’re doing a full-length album, but that’s not in the cards right now. “I think this is just a quicker way to push out your music,” says Wesley. “You don’t have to sit on a twelve track LP which takes a year to produce, or edit or whatever, from the tracking to the final release. So doing a 6 track EP you can just kind of punt them as quick as possible – get them in and get them out.”

Dylan adds, “and you’re not forcing yourself to have 12 new songs. Cause, I mean, 7 of them are going to be terrible.”

“I mean, there’s so much new music out there all the time that the only full albums that people are putting the time into to listen to the full albums are the big bands. And we might get to the point where we realise that ‘shit, we’ve done 19 EPs,’ you know. But our first EP and our second EP was basically in the same year, so it was like a full album.”

So we start talking about their current work – their next EP is called The Sad Kind of Happy. Which is an appropriate title, since that’s pretty much how their music sounds, right? Yard Sale, for example, was fascinating for being a blue, pseudo-depressive work hidden behind upbeat indie rock, that acknowledges pain and brokenness of youth and society without dwelling on it or being miserable about it. “…Except we say it in layman’s terms,” explains Dylan: “‘Our lyrics are fucking sad, but our songs are kind of upbeat.'”

We Are Charlie - Let's Stare at the Sun. Picture by Lourens Smit

Picture by Lourens Smit

“We say to each other ‘Dude, I like you, but I do not want to live inside your head, man.’ We smile a lot, we joke a lot, we are care-free dudes who look at the positive around every single corner, but to be dead honest, we can’t fight the demons enough. You fight demons all the time. Everyone does. Some people hide it better than others, but we’re actually not even trying to hide it. I think music has been a good outlet for us.”

“I’m able to say the shit that I want to say and stuff. I also take the band into consideration when writing lyrics.”

We write our shit to be catchy and upbeat so that the people who the song is about, listens to the song. So if we’re tuning a bunch of people in a song, ten-to-one, they’re like ‘I can so dance to this,’ or it happens to make it onto the radio. And we do that on purpose.”

With this approach, it’s no wonder that they don’t sound that much like the bands that influence them (“the people we listen to religiously”) – throughout our conversation they’ve mentioned IncubusSmashing PumpkinsThe PixiesModest MouseTalking HeadsTalking HeadsThe Cure, Sad Lovers and Giants, Queens of the Stone Age, and Cage the Elephant. On the other hand, they’ve been compared to The StrokesKings of LeonShortstraw, Desmond and the Tutus, and Two door cinema club – definitely a pretty diverse mix.

The first single from their upcoming EP, Let’s Stare at the Sun, feels like an anti-globalisation statement. And while it isn’t as specific as Yard Sale seems to have been, it contains a similar sense of criticism towards people they don’t approve of, and a wider sense of self-deprication – representing the entire country this time around. It’s equal parts groundbreaking and familiar for We Are Charlie. Their current plan is to release the EP single-for-single as free downloads over the next couple of months, and then make the whole thing available as a product to purchase.

As I take my leave, the band gets ready to continue their rehearsal session. They’re already working on early pre-production for a next EP. Luckily, it looks like they’re ensuring we get a steady stream of new music for a long time to come.

We Are Charlie is an indie rock band from Pretoria. They recently released Let’s Stare At The Sun, the first single of their latest, yet-to-be-released EP, The Sad Kind of HappyLet’s Stare At The Sun is available on iTunes, or free download from Soundcloud (for the time being), and you can check out the band on Facebook, Twitter, Instagram, and Soundcloud.

Floris Groenewald

Floris sometimes writes things when he’s not watching movies or playing video games or editing videos or folk-rock singing/songwriting.

Graeme Watkins Project Love in Abundance

The Graeme Watkins Project – In Abundance

Love is a wonderful thing. It brightens up even the sorriest of existences, leaving the lovestruck victim radiating a vast array of colour to the world around him/her. A hormone on fire, lighting your way around the dark world. This feeling can be found personified in the new Graeme Watkins Project video for ‘Love in Abundance’. Colour jumps off every frame as the frontman, Graeme Watkins himself, states “We’ve got love in abundance’. Indeed.

Less Wes Anderson, more Wes Craven.

We Are Charlie - Let's Stare at the Sun. Picture by Lourens Smit

Staring at the Sun, and how We Are Charlie write honest songs

I met Dylan Christie and Wesley Reinecke on an ice-cold night at Pop Filter Studios in Pretoria. It’s right behind Menlyn. The third member (and bassist) of We Are Charlie, Rowan van Eeden, was away on a trip to Germany. But between Dylan & Wesley, they had more than enough to say.

“I think Pop Filter Studios is a great place,” Wesley, the drummer, raves. “I think many people don’t realise what a great place it is or actually haven’t heard of it. As for the facilities, the acoustics are flippin’ awesome. There’s not just one live room or one iso booth, or some guy’s home made studio. It’s international standard studios and spaces. And the gear here is phenomenal.”

Pop Filter has, since launching in February 2016, become We Are Charlie‘s home base, rehearsal space, and recording studio of choice. They recorded their upcoming EP, The Sad Kind of Happy, here, under the guidance of producer Nic Dinnie.

Vocalist, guitarist, and lyricist Dylan explains: “Nic was a long-time friend of ours. And this EP was amazing to record, cause they almost gave us free rein with time.”

The production process started with simply playing through the songs in studio, and giving Nic an opportunity to get used to it, and maybe come up with some ideas. Only after this time did they move on to traditional pre-production and recording guide tracks. Nic’s help, along with Theuns Botha, who “was basically the drum tech of the session,” and mastering engineer Jacob Israel, provided some more experienced opinions and input.

“Just purely because we are youngsters and a little bit messed up, we lack experience in those fields. So that was amazing.”

And We Are Charlie really took their time with the process, refusing to compromise by forcing anything. “We said, if the song’s not done, it’s not done, we’re not gonna force time. We’ll finish it when we finish it.  If we just aren’t feeling it that night, we’ll just mess around with one of the other songs so long. So I guess it’s safe for us to say that we just never looked back.”

We Are Charlie - Let's Stare at the Sun. Picture by Lourens Smit

Picture by Lourens Smit

Often, the songwriting process starts with cellphone voice memos. Dylan explains: “When we have a good idea, we’ll pop the phone on voice note mode and we leave it outside, and we’ll just play through. And then I’ll sort of listen to it in my car sometimes.”

“Also, the way I write lyrics, is I just talk a bunch of shit – like you can tell, I’m good at that – so I just sing a bunch of shit, you know. And I’ll listen to it over and over again, and it’s almost like I subconsciously write some of the lyrics, until I go ‘Ah, that actually works.’ And then I’ll clean it up a bit.”

“And then once I’ve got enough cleaned up to make a story, then I’ll write the rest of the song. So then I’ll listen to it in the car over and over again to pick up little bits that I might have by accident said. And then I write the rest around that.”

“I think it’s also cool that way cause then it’s honest – You’re just singing what you feel at the time.”

I ask them about honesty in songwriting, and between the two of them, they agree that Dylan’s lyrics might not always be direct, but it can be straightforward and blunt.

“Not necessarily blunt toward someone,” says Wesley. “But also towards the reality of his thoughts.”

To which Dylan provides an example: “Like that song, You’re not that Great? I just straight up thought someone wasn’t great.”

We Are Charlie - Let's Stare at the Sun. Picture by Lourens Smit

Picture by Lourens Smit

“Look,” Wesley starts. “I’m not a musicologist or whatever you call them – ” [Dylan: “please let that be a word.” Yes, it is.] “But I think the only thing a person can relate to when hearing a song is the lyrics.” In his opinion, the rest of the music helps to underscore and frame the meaning of the song, but “the lyrics are the key, dude.”

But despite having relatively straightforward lyrics, it appears as though the band’s latest single, Let’s Stare at the Sun, is the first time that the majority of people are really connecting with the song’s message.

One of their first big singles, Hey Friend, for example, is “not what most people think it is,” says Wesley. [So it’s not about post-friendzone murder fantasies?]

It’s not just a ‘hey, I love my mates,'” explains Dylan. [Okay, maybe my theory still holds up. The guys were tight-lipped about the truth.]

We Are Charlie - Let's Stare at the Sun. Picture by Lourens Smit

Picture by Lourens Smit

On the other hand, Let’s Stare at the Sun‘s message is very culturally and socially relevant, but that’s coincidental. “It’s so weird, it came at the perfect time.”

I mean, I wrote those lyrics to that song at the end of last year, and now all this shit that is going on around the world with westernisation. For example, people don’t give a shit if there’s a bomb going off there, but if it goes off over there, then it’s a huge problem. And that’s what I hate. I hate that kind of stuff.”

He thinks of another example. “Burger King opened up down the road – and it’s delicious – but I’m like ‘FUCK! We never used to have Burger King and we used to be special because of that for a weird reason.’ Now everything is the same. It’s almost like they’re trying to make it all one thing.”

“It’s death of culture,” adds Wesley. “And of being yourself.”

But is this a thematic and lyrical change of course for We Are Charlie? Are they going to start writing anti-war protest music soon?

I mean, we’re not necessarily the biggest fans of society and what the movement is of westernisation and globalisation, but I don’t think necessarily that is going to be the direction of what is to come in our lyrics.”

I think we’ll continue being honest,” Dylan adds. “We’ll get more honest as we go, as well. Especially now that we’ve played cool venues, we’ve had a bit of the vibe, we’ve toured a little bit, we’ve gotten it out of our system.”

We’re going to be writing music and lyrics where it’s an opinion that we believe in,” Wesley says. “And we’re going to be very opinionated. So it’s going to be about a certain situation. It’s going to be something that Dylan really believes in. And that, to me, is an ingredient for a good song.”

We Are Charlie are the first to admit: “We talk a lot of shit.” But it’s entertaining and informative, and have therefore turned this piece into a two-part interview. Check back on soon for part two, where the band reveals why they haven’t made a full-length album yet.

We Are Charlie is an indie rock band from Pretoria. They recently released Let’s Stare At The Sun, the first single of their latest, yet-to-be-released EP, The Sad Kind of HappyLet’s Stare At The Sun is available on iTunes, or free download from Soundcloud (for the time being), and you can check out the band on Facebook, Twitter, Instagram, and Soundcloud.

Floris Groenewald

Floris sometimes writes things when he’s not watching movies or playing video games or editing videos or folk-rock singing/songwriting.

Akkedis - Onder Ou Tafelberg

Onder Ou Tafelberg: Akkedis kyk terug na 20 jaar

Akkedis bestaan uit die bebaarde langhaar tweelingbroers van Somerset-Wes, Rudolph en Arthur Dennis, met AJ Graham as derde lid. Hulle musiek het ‘n element van klassieke eenvoud, ten spyte van hulle voorkoms. Dis ‘n soort pseudo-folk blues-rock met ‘n groot fokus op lirieke, en sterk Afrika- invloede. Hulle sing hoofsaaklik in Afrikaans, met bietjie Engels en ander tale bygevoeg vir afwisseling. Portugees kom spesifiek op een liedjie op hulle nuutste album, Onder Ou Tafelberg, voor: Nos Amamos Mozambique is ‘n ode aan Mosambiek en Ponta Malongane, en daarmee saam waarskynlik STRAB, die jaarlikse musiekfees wat dáár plaasvind.

Floris Groenewald

Floris sometimes writes things when he’s not watching movies or playing video games or editing videos or folk-rock singing/songwriting.

blink-182 California

Blink-182 pens an ode to California

Blink-182 has released a new album called California

This album is the Blink-182‘s first release since their poorly received Neighbourhoods (that’s how we spell it in South African English) in 2011, which saw the band members to scatter to the four corners of the Earth. Well, three corners.

Before I delve into California, I think I should clarify where I stand on Blink-182. See, I am, apparently, a millennial. When Enema of the State and Take Off Your Pants and Jacket was released, I was in high school, and the perfect age to enjoy the finely crafted dick and balls jokes that were so expertly delivered by Tom, Mark, and Travis. I was also into guitars and playing music, so I learned a bunch of their songs, as they were easy and fun to play. In the process I took in the raw and relatively unprocessed Cheshire Cat and Dude Ranch as well. Then, a couple of years later, Blink-182 released their eponymous album, which I still believe is their best work. It brought a darker, more serious sound, and showed that the three Californians were capable of more than just bubblegum punk. In fact, the 2003 release showed that they could take what they had learned thus far, and craft it into something incredibly beautiful and haunting while still displaying the barely contained anger of their punk roots. I still listen to that album from time to time. 2011’s Neighbourhoods disappointed me, so if you liked it, I won’t be hurt if you disregard this article’s opinion completely.

blink-182 California

The band members had several side projects. Mark and Travis started +44 in reaction to Blink-182’s initial hiatus in 2005. Similarly, Tom formed Angels and Airwaves. I was never much of a fan of either band, feeling that the pop rock they delivered was weak and somewhat soulless compared to the 2003 Blink-182 album, as well as the first side project, Box Car Racer‘s only release, Box Car Racer in 2002; Tom and Travis wrote one of my all time favourite albums as Box Car Racer.

I think it’s clear from all this history that I hold the band’s earlier work in very high regard.

On to California. Apparently Blink-182 has been trying to release a new album since 2013, but Tom deLonge wouldn’t commit to picking up the guitar to write and record. Eventually, in 2015, Mark Hoppus (bass and vocals) and Travis Barker (drums) got tired of waiting and had a festival date to play. They asked Matt Skiba, vocalist and guitarist of Alkaline Trio, to fill in for Tom, and he soon became a full time replacement. It seems like the new trio gelled quickly and wrote a bunch of songs at a lightning pace, because about a year after joining forces, they released an album together.

The album, California, has its ups and downs

It starts off with a handful of songs (including the lead single Bored To Death) that still carry a strong influence of the older Blink-182 sound, even in the guitar playing. I got flashbacks to Take Of Your Pants and Jacket while listening to it. The sharp hooks of these songs immediately pull you in, and promise to earworm for the next month at least. The vocal harmonies immediately jumps out at you; it’s clear that Skiba knows how to sing and harmonize. His own style of guitar playing also shines through in interesting and highly unorthodox (for Blink-182) counterpoints using chords that they previously wouldn’t have dreamt of knowing.

The album then skips for the first time

The track Los Angeles starts off dark and driven, and stays dark throughout. Much darker than the first tracks, anyway. It’s a good song, with its sombre tone emphasised by the contrast of the bright and hopeful, highly melodic bridge. It is followed, however, by Sober, which is a generic pop rock song with nothing really special to offer, and Sober especially doesn’t fit into the tone of the album. It’s not a poor song, but I’m sure that Blink could’ve written something more tonally suitable for the album, as its inclusion is jarring.

The album really hits its stride following a brief joke track (that really might as well have gone on the cutting room floor too. At 30, I’m over the dick and ball jokes, and I can’t imagine the Blink guys really finding it all that funny anymore. Skiba cries “Is that really it?” when Mark finishes the songs, and I feel the same.) The song No Future has clear influences from the Take Off Your Pants era, and while there is a slight attempt at recapturing the feeling of being mad at all adults in the chorus, the harmonies are excellent, the guitar playing is layered beautifully, and Matt Skiba’s vocals really shine. The next track, Home Is Such A Lonely Place, again feels somewhat out of place as a ballad on a rock album, but the rest of the album is a combination of smooth vocal harmonies, good guitar work, Travis’ trademark energetic impossible drumming, seriously impressive vocal harmonies, high tempo songs with a good mixture of Blink and Alkaline Trio influences, and I can’t emphasize how well the vocal harmonies work on this album.


California has its shortcomings. The title track is another ballad-y pop song, which is not suited to the general tone of the album and the final song is called Brohemian Rhapsody… (I was steeling myself for the absolute worst, but it turned out that it is another joke track. Seems that the only way to make me thankful for a joke track is to instill fear of something much, much worse.)

In general, though, California is good, and if the evolutionary trajectory from high-school-Blink-182 to dark-and-serious-and-get-Robert-Smith-from-The-Cure-to-sing-with-you-Blink-182 continues to this Blink-182-with-Matt-Skiba, we can expect some more great albums from Blink-182 in the near future.

Blink-182 is an American rock band started in San Diego, California, in 1992. Their new record, California, released on 1 July 2016, and is available all over the place; I listened to it on Google Play Music. You can buy it on iTunes, or check out the band on Facebook, Twitter, Instagram, or YouTube.

Nardus Groenewald

Nardus Groenewald is a geek for music, computer games, tech, gadgets, and those chocolate eggs with jelly in them that Woolies sells at the tills. In his spare time he grows a decent beard and holds down a full time job.

About You - digital cover large Boketto

Gazing Vacantly? Boketto releases their debut album, About You

The last time I heard a groovy jazz-rock band who named themselves after a Japanese word with no English translation – oh wait, that’s never happened before. Enter Boketto. Apparently roughly translated, it means ‘The act of gazing vacantly into the distance, without thinking.’ Which is a pretty cool name for a band who produces smooth, soulful, jazzy groove-based music.

Floris Groenewald

Floris sometimes writes things when he’s not watching movies or playing video games or editing videos or folk-rock singing/songwriting.

Jerain - Gold

Q&A: Jerain tells of her journey in music with new single, Gold

Jerain, a Namibian-born urban alt-pop singer-songwriter currently based in Cape Town, just released her newest single, Gold, today. It’s an interesting song, lyrically, that explores the inside of the music business, and addresses some of the challenges and ups-and-downs that come with writing and recording songs.

Floris Groenewald

Floris sometimes writes things when he’s not watching movies or playing video games or editing videos or folk-rock singing/songwriting.

Gerald Clark Studio__DSF8123_1

Life on the road with Gerald Clark and the Goldengoose

If you haven’t heard of Gerald Clark yet, you’ll almost certainly recognise him as the cool and lively “Afroboer” bluesman who regularly pops up on festival and other stages throughout South Africa. Last year he released his fourth album, titled Afroboer & the GoldenGoose, which was largely inspired by his meeting his girlfriend, the titular Goose.

Recently, Clark and the GoldenGoose gave up their home and comforts, deciding to settle for a nomadic lifestyle. They describe themselves as “happy campers” – traveling the country and permanently touring. We stole a few minutes of Gerald’s time between shows to ask him about this interesting journey.

Floris Groenewald

Floris sometimes writes things when he’s not watching movies or playing video games or editing videos or folk-rock singing/songwriting.