Gary Thomas speaks in his own divergent musical diction, wailing through visceral fissures and flaunting sentient labyrinthine technique. Having established a cavalier relationship with his guitar, the affair can be arduous. Gary ranges from gentle dulcet seduction, before manic percussive cacophony disjoints your repose. The recondite Wooden Boxes and Thought Hunting was released at the start of Gary’s solo career after parting ways with the highly regarded Cape deuce Cabins in the Forest. This new direction in 2009 saw over 30 South African cities on the tour schedule, features at all major local Music Festivals, highly acclaimed reviews and much more. Having just finalised the recording of his next solo album, Gary shared some insight with Calibreed.

Photo By Greg Lomas

With song-writing and performance seeming to be such a personal expression for you, was the solo-artist route inevitable? Have you always considered yourself a solo-artist?

I’ve been a solo artist all my life really, apart from the couple years I was doing Cabins. But I only started doing work I consider ‘good’ once I moved to Cape Town. I did a few gigs here and there in Durban while I was studying. But I sucked. I guess leaving your hometown forever does something to your creative side. It kind of exploded.

Do you think there is a mainstream market for the acoustic guitar outside of the James Blunt folk sing-a-longs? Has challenging your audience alienated you from a more mainstream appeal, and has this been by choice? Do you have mainstream aspirations, and do you think this can affect the creative integrity of a musician, or motivate them to take their art more seriously?

There are so many acoustic musicians who are doing great work who aren’t world famous. But they are known widely enough to tour the world and rely on music as a career. I don’t want to get to this place where everybody knows your name and your face is on stationary at Checkers. If EVERYONE loves you, you’re probably making shitty pop. Uh oh.

Your voice definitely plays as an additional instrument in the band, but do the lyrical contents also hold a lot of weight for you? There seems to be a rhythmic storytelling aspect in your music that almost reminds me of Fleetwood Mac themes. What kind of themes do you explore, and how do you find the lyric writing process as part of the whole package, especially in such an intimate solo medium?

I don’t know any Fleetwood Mac music. Except ‘Landslide’ because a million people covered it. Lyrics are very important to me. It’s the poetry side to vocal music. A lot of people assume I write nonsense and just fit words into songs like Tetris, but its not really the case. It’s just that I sometimes explore multiple ideas in one piece. It starts off in one place and then like a dream, ends up somewhere completely unrelated yet somehow symbiotic. I also think I’ll try put lyrics in my new album art because I think it will solve alot of word mysteries out there. I have pronunciation laziness. That’s all.

Vocally, you’ve stated before that you draw a lot of influence from female vocalists, and I know that folk such as Billy Corgan also played a big role, definitively tending towards left of middle with regards to typical delivery. What do you find personally exciting from a vocal offering, and what do you look for in that regard on a personal basis, when listening to music?

These days, when I hear new music, I can usually tell in the first 30 seconds if I’ll like it or not. And if not, I’ll write it off forever. I guess I’m interested in anything unique. Something that makes me go “well I wish I’d written that” or “how the fuck did they do that?”. I’ve spent way too much time exposing myself to the same music played by different people every day. Lets progress. Lets push boundaries. Lets fuck out.

Photo by Tyrone Bradley

You worked with some amazing musicians through Cabins in the Forest. Does the Gary Thomas model leave you open for these kinds of opportunities in the future?

Definitely. The freedom of being a solo artist is uncanny. I like being in control. To have freedom to go wherever you want. But music is great it’s flexibility and playing with others is just another level. It’s not better or worse. It’s just a different headspace. One that I will never say goodbye to. I have plans to get a trio / quartet / quintet together maybe in a year. Write some songs, do a tour, have some fun.

A notable aspect of the Gary Thomas experience is your humility on stage in face of obvious technical bravado. How do you stay humble about the process, and do you think the attitude affects the delivery of the music? You could very easily be hailed as the forefront of the next generation of the South African Acoustic Guitarist … in that regard where do you see yourself in 20 years? Do you find that technical aspects of your musical sometimes allow you to get away with more other ‘alternative’ creative explorations?

Thanks, that’s very kind. I have two recurring nightmares. One is that I’m back at school, after all these years, and I’ve neglected to keep up with my Maths and there’s an imminent exam. And they want me to shave my beard off. The other dream is that I’m about to do a gig but everything keeps going wrong. Electronics die. Strings break. There are wolves between me and the venue. I forgot my guitar at home. I have this dream so often that when things do go south in real life on stage, it’s just so surreal that I sometimes have to laugh at the state of affairs. Apparently I’m good at hiding my frustration because there have been times when I’ve wanted to leap off stage, break something and drive far far away. And then people come up to you afterwards and say ‘that was really awesome, probably the best show of yours I’ve seen’. It baffles me. I guess you just have to remind yourself that you’re the ONLY one who knows the music meticulously and fuck up’s are probably sneaking right past the crowd.

20 years? I hope to be alive. I’ll cross that bridge when I get to it.

You worked on Wooden Boxes & Thought Hunting during the Cabins in the Forest run. How did you differentiate between what you brought to the Cabins table, and what you kept aside for personal projects? Do you view the two sounds as very different, and what kind of differences are you most aware of between your solo work and that of the ‘band’?

Oh it’s a completely different thing. Wooden Boxes was a casual project for which I didn’t have any release plans. I just churned out a bunch of music and decided I quite liked it. And when the opportunity arose,  I put it out. Two songs from those sessions became Cabins songs. Andy liked ‘Precipitation’ and ‘Toast’ and we ended up turning them into symphonic monsters after two years. We have very different styles. I tend to fall in love with darker music easier. What does that mean? Maybe it’s a Scorpio thing.

You’ve just finished up recording a brand new album. Was this a lengthy developmental process, or did you spend specific time in studio laying down the tracks? How is the recording process affected by being a solo artist, with such a hands on approach as yourself?

I did a lot of shows in a lot of new places in 2009. But I held from recording for the whole year because I wanted to develop material on the road, out in the world. And I’m glad I did, the pieces have matured. So I set up the Cabin for one last time, and laid down 19 or so songs. Half of them were from this year, the road. And half of them are new. Despite all of what I mentioned above, there is an element of spontaneity that is imperative to me. I axed a bunch of songs that I was sure would make the record. But they just lost their fire. For now. And I’m happy with the new songs.  There are 15 on the record.

I don’t like recording with anyone else in the room. I want to be alone. With my thoughts and my destinations. I have to let go and turn into a crazy person, bring out the monster. And I often find it harder when someone else is waiting for it to happen. If a 30 second take gets done in 3 hours, So be it. I had help setting up though, Andy and Guy Buttery lent me some gear and helped me find healthy sounds out of things. It’s the first time I recorded my stomp box too. We got it sounding super fat and bombastic.

Musically, are you exploring similar themes in the new album? Has your sound evolved or changed for this new recording? Are you excited / intimidated about the tracks you’ve done for this release? Have you worked out any interesting ways to beat new sounds out your acoustic?

Definitely. Like I said, it was the first time recording stomp box, which just adds so much to the sound. A pulse. I kept a lot of it simple with the solo performer size of the music. But there are times when one cant help layer the shit out of something. There’s something so rich about watching music unfold and expand. I played ‘snare’ drum with a big tin box  with coins inside. With my fingers. That’s on two tracks. Then there’s Ebow and the occasional distorted acoustic ‘string section’. In terms of guitar, I think I just like to explore every possible sound that you can create. I’ll always be learning new things. That’s the beauty.

When working on the album yourself, specifically the production, how are you able to step back from the project and decide that it is finished? Is it a matter of compromise? What ideals would need to be met for you to have the perfect Gary Thomas recording process?

It can turn into a nightmare and a mind fuck. I like mixing my work because I know exactly what’s going on and how I want things. But I am sending it for mastering at Peace of Eden Studios in Knysna. Howard Butcher’s the man there, he knows what’s going on. It’s a huge release / relief to send of a disc with everything completed. It drove me a little crazy for a while there, but I made it through without hating the record, which is pretty much the goal isn’t it?

Ideal recording zone: Cottage next to ocean / mountain / valley / something earthy and beautiful. Remote enough to make so much noise that no one hears, maybe a forest cow or two. New places tend to keep things fresh. I like moving around.

Photo by Leon Wolmarans

You did the recording in Cape Town, and are going to be producing the album in Durban. Any specific reason for the choice to do it that side? When can we expect a release?

I just happened to be headed up there over the new year, so it was perfect timing to take all my gear and look at things in a different space. Release… February… Maybe March. I have to find some ducks and put them in a row.

East Coast vs West Coast? Who wins?

We’re all the boss.

Photo by Tyrone Bradley

Check out more from Gary online here: www.garythomas.co.za

Banner photo credit: Colwyn Thomas.

Those of you who are not acquainted with the name, face or work of Mike Bell have obviously not spent any significant time in the front row of Johannesburg pits. Mikes obvious passion for the scene he documents is evident in every shot he takes, the intimacy laced with sweat and seared with the howls and thumps of the pit that Mr Bell has made his niche and creative focus, turning the snarling mass into an art. If this is the first time you’re hearing the name, prepare to get introduced to a rising star in the SA underground.

Twenty-two years old and you’ve dived into the deep end of music photography. It all seems to have moved so quickly for you, and you’ve managed to keep your head above the water and take advantage of the opportunities that have come your way. How did it all happen for you initially, and where do you plan on taking this in the future?

Well I unfortunately don’t have a story that will shock and wow you straight out of your seat, but hopefully it will keep your eyes off facebook for at least five minutes. My father bought me my first film camera around the age of 17, he actually bought it from one of my very good friends involved in the South African music industry. I had always been going to shows and now I was taking photos. I’m a huge South African music fan and this directly contributed to my direction in photography. With my camera in hand and 4 rolls of film in my pocket I would be at every show I could get into. I got to meet and clash lenses with the other few amateur photographers of the time. Photographers like Chris Preyser and Wayne Nel showed me some important skills and the basic conduct of live music photography. Back then, five short years ago Photographers like Ross Garrett and Liam Lynch were already being recognized for their live music photography. This gave me the mind frame that I could still do something with my life that I loved and it not be considered juvenile or pointless. I started getting requests from bands to cover their shows and do promo shoots for a few of them, which for me is the highlight of what I get to do. Purity Music Magazine then started up here in Johannesburg and soon I was onboard with that. The contacts I made and the opportunities I received really started me off in a good direction. I have been able to meet and photograph some of my favourite South African and international artists. In 2009 I decided to take the year to study photography at the National School of Photography, this is where I experienced slide film and negative developing as well as using a digital SLR. I now use the digital format for most of my work. I plan to carry on doing band promo and live shows, but I will continue to do the basic photographic work like functions, parties, catering, etc but would like to get into entertainment peoples portraits and maybe even fashion when I am more experienced in my career.

You started exclusively using film in your photography. Do you think this helped define your natural style and skills? Has moving over to digital and having the Photoshop option affected your output?

Starting on film gave me a unique advantage when it came to using a camera. I learnt how to take a photograph and have a vision or idea of what that photograph would look like before I even took it. With film there was no ‘snap-look-change’, you had to have an idea of how the picture will look and know how to use the camera to get it to look that way. When I did move on to a digital SLR I found that everything I was used to had changed, a lot of my photographs were very ‘snap-shotty’ and bland. I had to learn new methods of using the camera which seemed to change my general style. As far as style really goes I don’t think I am quite there yet, a style is developed over many years of experience and the progression through many photographic phases. I can really appreciate photographers who have obtained a consistency between photographs that has started to come naturally rather than photo-shopping each of their images in the same way to create a style. Things like Photoshop and Lightroom are a big part of photography these days. No matter what type of digital photographer you are, you are at a huge disadvantage if you are unable to work in the digital dark room. I like to think of photoshop more as a tool for fixing rather than a tool for image creation. I am starting to use less and less of the digital darkroom the more I progress with my photography, but as sure as hell photoshop will always be there and be a part of digital photography.

What’s your process when it comes to photography? Do you look for scenes and locations beforehand, or do certain bands inspire specifics ideas for their shoots? How much do you rely on setting a scene for your shoots? Do you prefer studio / live / outdoor shoots, and what is it about these various styles you enjoy / hate? How much input does a band have in the look of the shoots, and are you comfortable taking control of the situation to get the shot you want?

There are two sides of the scale when it comes to bands ideas for a promo shoot. The one type of band will come up to me and say ‘let’s do a shoot next week’, and I will have to come up with an idea that will suite the band and drive around looking for a location. This is probably my favourite way to do it since I get to come up with an idea and have that idea as a reference for when I’m actually about to take the photograph. It is more work and stress but it is so much easier when you have your vision and not trying to imagine someone else’s.

The other type of band will tell you this is what the shoots about and this is when and how it will be done.

What’s been some of the feedback you’ve got from the people you’ve taken pictures of, that’s inspired you further? Had any really harsh reviews? How does an artist respond to critics?

When it comes to feedback, it is generally good especially since by the time the blood sweat and beers are over I have made friends with the band and they have seen the time and effort that has gone into the pictures. Bands tend to be happy with the outcome as long as they have seen I have made an effort. I think as far as critics go, I’m probably my biggest one. I am always on the internet and at the expos looking at other artist’s works and deciding who needs to be taken out first. I actually judge my work against others all the time and get very upset when I am behind when it comes to techniques and ideas. I also studied photography at the National School of Photography here in Johannesburg and lecturers do become your biggest critics, but it only moves you forward in your work and progresses you into new ideas. I have not had a tear dropping review yet, but it will come from somewhere and I will use it to my advantage.

Every photoshoot has a story behind it. What have been some highs and lows from the other side of the camera? Some insight into the dirty side of South African music?

The South African music scene… I’m not going to dig up dirt because there are a lot of people doing a lot of good for South African music and there are a lot of people who don’t give a crap, and I have been ripped off by both. I have just come to realise that you can’t rely on it for your bread and butter just yet. Although I do think it is starting to organise itself out because there is now money to be made in the market and therefore money to be paid.

Being the man behind the camera has also provided some interesting opportunities, for example, meeting certain bands, behind the scenes access, going on tours with bands. What are some of the experiences you hold closest that photography has provided for you, and do you think that your art has brought you closer to the lifestyle and scene you document? Do you think having a passion for the scene lets you document and see it in a light that others might otherwise have missed? For example, some of your best shots are taken at the front of the mosh-pit.

I have been given some incredible opportunities and met some even more incredible people from all over. I wouldn’t say I get behind the scenes access because here in SA behind the scenes means the band chilling with the crowd around the corner of the stage, but yes I do get to chill around the corners which is great. I don’t think my photography has brought me closer to the lifestyle or scene as such, I would still be at the same shows whether or not I was taking photos. I think my lifestyle mainly influences my photography. Having a passion for what I’m photographing does allow me to understand it and analyse it a lot better than an outside photographer, but then you’ll have people from the scene enjoying my work and outsiders not really giving a damn so it’s a bit of a catch-22. The band tours seem to be happening more frequently for me than they used to, which is great. I love being able to tour with a band and really get to document a few days in succession, if I am able to stay sober around them long enough.

Documenting the scene you’ve put in a unique objective position. Have you noticed any trends and changes from when you started, and where do you think the future of the underground scene in SA is heading?

Well I haven’t been around long enough to comment on the beginnings or even the last five years of the scene, but I have noticed the trends that have come and gone and the dramatic influx of younger fans whether it be corpse paint or zeff-rap. The South African music scene is bigger than ever and is growing everyday with what used to be underground SA bands being played in the top 10 of commercial radio like 5fm, as well as the whole music video market exploding onto the scenes since the beginning of MK. The underground scene is very different now than it was when I started going to shows; it has grown and progressed from being one show a weekend to up to four shows a night in the same city, of course I can only comment about Johannesburg. Before shows would be very mixed with genres and groups of people and now single genre shows are starting to happen such as hardcore shows where only hardcore bands play, which I am uber-excited about. It just shows the scene is starting to become of moderate size. South African music is starting to be recognised by the mass South African market, there are more bands putting their albums on the shelves of popular music stores. I see good things.

Your band photography has opened some corporate options for you as well, making photography as a career a legitimate option. Is there a different approach when working to a brief, and where do you see yourself and your career heading? Are there new aspects you’d like to explore, and do you have any plans to focus yourself on new themes in the future?

If it is a ‘career’ that I have at the moment I have just started it and begun to find my direction and place. I came second in the Canon shooting star competition which I was very happy about and scored an awesome camera out of it. I was lucky enough to photograph a 168 Carat white Cullinan diamond worth about 53 million rand for the buyer of the stone, it didn’t look like much but holding and working with something worth that much is pretty kiff. I always work to a brief really, just when it’s someone else’s it is a bit more frustrating because you have to take photographs that they will like and I might hate, people love the cheese. I have started to get involved in the more corporate shoots because it will me the opportunity to make this my career, but my passion will always be with the entertainment industry and maybe one day I will get into something outside my comfort zone like fashion or glamour.

Are you doing photography for anyone specifically at the moment, or freelancing entirely?
At the moment I am trying to see how freelancing will treat me.

Where can we keep updated with your work?

My blog mikebellphotography.blogspot.com is constantly being updated, although I have wiped it clean for the New Year there should be some stuff up there soon. For band promos you can check out www.myspace.com/mikebellphotography

“FUCK IT” – The mantra of The Pioneer. With these resonating words, HORSE the Band, latched on to legacy with their very own hands and set the precedent for every band claiming the avant-garde title. Here are the facts: At the moment of inevitable disillusionment for the artist, a defining juncture for any band, HTB rose to the challenge where many before had fallen. Announcing brazen plans, the band was met with rancor and jest, a response the vanguard is familiar with – a 40-country tour of earth, booked, funded, planned and survived by the band? The misanthropes jeered, the flouters doubted, while HORSE the Band played 73 gigs in three months over 45 countries worldwide and persevered to tell the tale.

And tell the tale they have, echoes of the story soaked in ether and pinned down on their latest and most arduous release; Desperate Living.

Read more, including the exclusive interview with Lord Gold from HORSE the Band below.

Musically, the journeys and responsibilities undertaken are as torrid and formidable as those on the road, and the band as relentless.  Released in October 2009, Desperate Living is an innovative and honest release from a heretical and observant band, sensitive to both the beauty and pain of their creative responsibilities. One gets the impression of salient disclosure; an intrinsic and veracious account from the collected and cultivated experiences of HORSE the Band. With an austere assumption of disquietude from the listener, complemented by the ferocious and perceptive lyrical palette presented in orchestrated landscapes and drenched in the essence of 100-year-old suicide laments, captured and tortured amongst growls and saccharine hooks, Desperate Living is an album with weight.

In theory, HORSE the Band define the ideal of the underground movement. From their very inception in 1999, the band was oblivious to precedent and with this naivety fostered a subgenre of KORG synthesized savageness. Once exposed to a broader audience, HTB managed to maintain creative integrity, playing with every named band in the scene, while touring the world on their own terms. However, in practice, the repercussions of the authenticity, substance and verity of the ideal has been exposed, and the double edged sword has been chronicled in Desperate Living in all its stark detail.

Calibreed caught up with Lord Gold for a little more info from the band, although after reading their official Biography here, there is probably nothing else you would ever need to know. It is crucial reading.

First off: Earth Tour. Was there serious discussion in the HTB camp about calling the tour ‘Earth Tour Except That Africa Place’? A man cannot judge himself until he has tested his worth against the Dark Continent. Was it the snakes or the AIDS? It’s actually rather nice here – does Africa feature in any of HtB’s upcoming plans? In Zulu, a horse is ‘ihashi’.

Haha, we actually went to Africa on the tour, but to Egypt. I ate McDonald’s at the airport, it took 30 minutes to get the food. We also had to almost bribe their security to get our bags through. But we just yelled at them. Then we left. But, no! We want to come; it just didn’t make sense on Earth Tour Leg 1. We still want to come to South Africa, and hopefully a few other countries. I really wanna play in Zanzibar too. We are trying to work it out. If a promoter can get us there and back at no cost to us it’s on!

Back to past conquests: 45 countries, 73 gigs in 3 months and $942. These are figures that have earned Horse the Band a reputation. Do the numbers speak for themselves about the reality and ‘true wealth’ of touring, and is the idea of what else is left after something of this scale daunting?

Well, we thought we would lose money. David and I told the band we might make a little or probably break even, but we both expected something horrible would happen and we would come home with an unprecedented, crippling band debt. But, it all worked out pretty smoothly and successfully. Probably because we are both so intelligent. Obviously there is no money in touring Asia, flying every day, for a band of our size, but there is some money in Europe and Australia… So we basically used 6 weeks of dates in “profitable” countries to pay for 6 weeks in “fun” countries. And yeah, for a while there was a weariness of “we’ve seen it all” and now have to live the rest of our lives bored, but it went away after a while. That was good. At the moment though I am still totally sick of flying and convinced each time my plane doesn’t crash my chances of not dying on the flight are drastically lowered.

The official video for ‘Murder’ filmed live in Belgrade, Serbia. HD recommended.

The band has hinted at ‘A Natural Death’ being close to the end of HTBs run, and Earth Tour being a response to escaping the monotony of being on the road.  The band also moved over to Vagrant records in early 2009. These experiences seem to have directly impacted on the sounds and themes of Desperate Living, which is noticeably in a different vein to previous releases. Can one take optimism away from this new venture of sound, and the mindset of the band?

I think Desperate Living is our most sad and pained album ever, but it has a bright side to it. Mentally the band is in a better place than ever. It’s like we had to play psychologist for ourselves and by pushing it to the limit through estrangement and physical punishment, exhaustion, and experiencing things that no other bands or reviewers or “music people” will ever see or think of or comprehend we somehow made it through and understood our place in the world, or something. We made a really honest album. As for what to take from that for the future… Haha, I don’t know. I think we are done trying to have this band exist within the US’s “industry” model. We are just friends who play music and now we will only play when we want to with bands we like and in places we want to go. We aren’t trying to make it our job anymore.

The album and its musical, lyrical and character contents seem very self reflective, close to home and openly honest when undressed.  Is this creative expression cathartic, or confessional?  Does the personal and emotional investment into the work tie you closer to the albums? With this in mind, if all the HtB albums were your pets, would you have a favourite? Does Desperate Living still have that new puppy dog smell?

Desperate Living is really the only thing we have done that I have felt expressed something we were feeling in a very effective way. It is both confessional and cathartic, we feel especially close to the music. Listening the parts of the album still gives me chills, both lyrics and instrumentation. Usually, especially if that part is something you wrote, that wears off quickly but it hasn’t for this album. It’s the definite favorite of the band by a long-shot, maybe with mechanical hand coming in a far off 2nd.

Within context of the band, is Desperate Living Horse the Bands ‘matured’ release?

I mean, we aren’t trying to be “mature”. The word seems to grow more idiotic every time I hear it. I don’t think I even know someone who is “mature”. People are all just fucking crazy. I would say we were the most successful with expressing the feelings we set out to express on this album. We were more honest, we had more to say and more relevant things to say, and the album came very naturally because so many intense emotions were so fresh in our minds.

The band features some interesting surprise guests from unexpected musical influences. Did you initially approach them as fans of their work when discussing collaborations? Are there musical or lyrical synonyms that HtB relates to with these artists?

Yeah, we were either superfans or close friends and appreciative of their talents. Getting to work with Jamie Stewart and Valentina Lisitsa especially, for me, was so surreal that I went through a phase where I questioned if my life was real or a computer simulation experiment to see what happened if a person kept getting everything they dreamed of. I feel that especially for Jamie and Valentina, we feel the same way about music but express ourselves very differently. There is a common intense emotional thread and passion that ties us together. I wanted to bring their sensibilities into “heavy” music because it’s so powerful. I thought combining tortured fringe piano composition and whatever you can call what Jamie does, supernatural noise manipulation combined with heart-wrenching melody, with heavy music, would be explosive.

The official music video for ‘Shapeshift’ featuring Jamie Stewart of Xiu Xiu.

Valentina Lisitsa. Having her agree to feature on the album must have been a pretty big deal. Did you receive any specific feedback on ‘A Natural Death’ after first approaching her and giving her a copy of the album, and what has been her response to Rape Escape? Was there a ‘Holy Shit’ moment when first listening to her contribution to the track, and molding it into the HtB sound?

Haha there was like a “Holy Shit” year, or at least a “Holy Shit” 8-9 months after I met her and she emailed me saying she was serious about a guest appearance. Val didn’t make any specific comments about A Natural Death other than saying she was into it. But she was so ready to collaborate with us, so excited. It was easily the most excited I had been about hearing what something was going to sound like. She loved how the song turned out, she absolutely loved it and said she couldn’t wait for people to hear it and for critics to not understand it and get angry. She is the real deal. A true artist. So cool.

The Stay Human project – In a war of this magnitude, does the fight ever feel futile, and have you noticed any recent issues we should be aware of and concerned about? I hear that the Colony Collapse Disorder could be attributed to electro-magnetic radiation. Could CCD be a scary analogy for what’s on the horizon for the human being? On a side note, apparently “one out of every three bites of food that we consume is due to the work of honeybees, serving as crucial pollinators in agriculture and farming communities”. Are the signs and portents being ignored? Where are the bodies?

I don’t know! I am scared.
But, the weird thing about trying to preserve humanity… A lot of what you are trying to save is the ugliness, the perversity. By saving humanity you ensure future atrocity, infinite atrocity. And infinite beauty. So… It’s weird. But I guess as the only observers who are able to reflect on our actions in serious, sarcastic, artistic, whatever, ways we may as well keep ourselves around so we can keep doing it.

The official (edited and uncensored) music video for ‘Lord Gold Throneroom’.

In a simplified essence, is The Stay Human project a celebration of living at the top when you’re at the fucking bottom?

I don’t think so. Most humans will never ever know how to do that or feel what it is like. It’s hard to explain. Maybe something more like the beauty of peopleofwalmart.com preserving the highs and the lows. But only a select few humans will be the go-betweens. The cloudwalkers…

Has the internet killed the intimacy of music, making it consumable and disposable, or has it brought art to new wider audiences?

Both. The good thing is you can still make music intimate if you want to; most people are just too stupid to do it. The main problem being they enjoy the music they listen to, but only because it makes them feel cool to think about other people thinking about them liking those bands of the moment. The only bands that get disposed of are the ones that weren’t vital in the first place (most of them). The Internet also spawned a music journalism industry, in order for them to keep making ad money they must create and destroy trends as quickly as possible. Oh well.

Any last words for the starving third-world Africans out there?

Anything I have to say is worthless to anyone living a real life. But at least I didn’t come take pictures of myself holding your children when I finished college.

Support Horse the Band. It’s the right thing to do:

DOWNLOAD Desperate Living from iTunes and recieve 10 bonus tracks.

www.HORSETHEBAND.com

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Disclaimer: Unless otherwise specified, all content belongs to Calibreed Productions and can’t be used or replicated without consent.

Read more, including the interview, below.

As everyone knows; if you find yourself at particular crossroads at the strike of twelve on certain wailing nights the Devil might barter with your mortal soul and grant possessed musical talent and sixth-finger fret dexterity after tuning and playing a few notes on your guitar, as in the well documented case of Robert Johnson. Robert Johnson, like so many after him ,managed to only last the mythical 27 years before burning out in Icarus style in 1938 and leaving ashes of legend, a rather elite Club with very specific entry requirements, and the avalanche of Rock and Roll.

This leaves one to wonder… Based on popular protest through these last decades of social frustrations; the Devil is to blame for anything with a decent beat, and with that in mind: he has got to be the ultimate shredder. And when the Devil, as timeless as the other guy upstairs, has the hunger for more – burning through fret boards and melting strings as the aeons pass (dealing out some of the suffering and temptation stuff too I’m sure), he grows frustrated by the restraints of his own skill. Admitting defeat, but not willing to compromise, he makes a decision, waits till midnight and heads down to the crossroads at the Dockery Farms himself… I imagine this is about when the guys from Devil Sold His Soul wake up sweating, before heading out to studio to try replicate the soundtrack to that nightmare.

Now you might be complaining about the timeless ‘it was all just a dream’ backpedal there, but it comes with reassurance: The atmospheric soundscape of Devil Sold His Soul, lifts and soars on melodies and orchestrated harmony before smashing on top of you like a collapsing amphitheatre in reminder that it’s not part of the reverie.

Hailing from the South of England Devil Sold His Soul are a six-piece that are anything but the expected. With most of the members having invested 7 years into the band Mahumodo, DSHS was formed in 2004 under high expectations. With the EP Darkness Prevails in 2005 laying down the initial intrigue in the band it was followed up with 2007 release A Fragile Hope, an album that can be described as nothing less than an epic forage into atmospheric / post hardcore boundaries. DSHS build walls of sound with details and subtlety that suddenly flare up in an explosion of intensity and raw, throat-lacerating passion.

Calibreed spoke to guitarist Richard Chapple and got to know the band a little better:

As a band, I have read that Performance takes preference on tour, trying to equal or better recorded offerings? Does this reflect the hard working ethos of the band?

Definitely. Since the very start of DSHS we have had a very specific goal in creating a complete live experience. In the early days, we would literally start the set and each song would flow into one another, with almost no talking between songs. We have always used lights, venue permitting, in our shows – something which really helped create a vibe – it was very much a case of having the house lights down low and Paul (samples) would do the work with the strobes. However, nowadays, when we get the privilege to play in larger venues with amazing lights, we really enjoy it when lighting guys go to town when we play. Sound-wise, for the most part, we do what we do and hope the sound-guy does a good job. Jonny (guitars) and I have a very specific sound and are pretty much synced in volume and tone, so as long as the sound guy gets his levels right, our sound pretty much always stays the same. Just gotta have loads of kick-drum, that’s the only thing we ask for!

Like It’s Your Last’ – The second single from DSHS’s debut EP ‘Darkness Prevails’

There are rumours circulating that South Africa is going to get to sample this experience firsthand? We were told there would be benefits of it being hosted here; does potential DSHS interest in SA have anything to do with the 2010 World Cup?

Well this is definitely something that we are pursuing at this moment in time. In the most part, the only real barrier is actually physically getting over to SA – once we can sort that out, we’ll be over. None of us have ever been to SA before and would love the experience. We are extremely keen to play in as many different countries as possible and to play in SA would be amazing. Of course we all know the World Cup 2010 is just around the corner and I know that myself and Paul (samples) are really excited about that, but this doesn’t really have any effect on our overall decision – we just want to come and play to you guys!

If those rumours are true, and you do manage to sort out the logistics and head out here, are there expectations or anticipations from South Africa as a country, as well as our local music scene?

Well I’ve heard great things about the scenery and the low cost of living (compared to Britain) – it would certainly be the chance of a lifetime to visit such a beautiful country and I’ve been told that beer is cheap too – so what more can you ask for! But we are definitely up for learning more about SA.

Musically, I have been sent links to a lot of SA bands and have been told that the scene is definitely growing over there. What is good about an emerging scene like SA is that there are no ground rules, so there is massive room for originality and experimenting with genres – so it will be great to play with a lot of diverse bands when we come over.

Refreshingly different and accessible from a variety of musical interests, does Devil Sold His Soul get to play more diverse line-ups / festivals – or are you kept within the ‘post-hardcore’ restraints? With all the hype behind the band, do you feel any kind of ambassadorial pressure from both the UK and also the underground scene where you earned your stripes?

In mainland Europe, we have mostly been put on Hardcore Festivals – playing with bands such as Agnostic Front, Terror, Rise & Fall and we went out on the road with Bury Your Dead, Emmure and Full Blown Chaos. All were fun to do, but probably not the most ideal shows for our music. We did a few shows with Genghis Tron and they were awesome. Last year we played In The Park in Scotland with bands such as Rage Against The Machine, The Verve, Kate Nash and lots more mainstream acts. And of course we played Download Festival in 2008 to a packed tent and that was the best show of our lives so far. So yeah, we’ve been put on some very diverse bills. We don’t see ourselves as a typical ‘post-hardcore’ band. We just do what we do, we don’t write music to fit into a particular scene, it just happens that people find it hard to pigeon-hole us and so we get on shows that seem odd at times, but are always fun. We have seen our fanbase grow and grow over the past couple of years, it has been hard work, as for the most part we have been going against the grain and haven’t had as many opportunities to tour with bigger bands as many of our contemporaries have, but we have stuck with our own style and that is what we want to do. One day it will pay off we hope. Of course we have bands that we feel would be perfect to tour with, it’s just getting the opportunity to do it – something that is harder than it seems.

With budget restraints, DSHS chose to record your album A Fragile Hope within the band, keeping the process hands on. Do you think having creative freedom / comfort is reflected in the end product of the album?

For sure, we spent ages on that album – I think we took about 9 months to record it – not constantly, but with no deadline, we took our time. We were very happy with the result, but would like to condense the process next time, as it is not always beneficial – and there were plenty of disagreements. We know that AFH was a very special album and means a lot to many people, something which we think is amazing. We just want to write another good album, but not AFH part2 by any means. The same basic elements are there, but we want to show a broader side to DSHS. To emulate AFH wouldn’t show any progression. We just hope you dig it.

Having cycled through a few drummers, any fears of picking up the Spinal Tap curse? Drums on A Fragile Hope were done by Dave Robinson of Fireapple Red. Was he featured as a session musician for the album, or was he part of the DSHS line-up?

Hehehe – yeah it does seem a bit Spinal Tap, given that we’re on our 4th drummer! Dave was amazing. He helped us out so much before and during the album and is as much a part of AFH as any of us – he put in so much hard work and time for that album, we will forever be indebted to him. But, unfortunately he couldn’t commit to the touring schedule we had and we had to look for a permanent member. This proved to be a very difficult and lengthy process. But we eventually found Leks and we’re so stoked to have finally completed the line-up. However, we wouldn’t be where we are today without the help of all our friends and families, especially Dave – so we thank them all for that.

With the number of us there, and our colonial history, many South African bands regard the UK and Europe as the next big step in the careers, and consider heading over to try and get a foot in the door of the scene. Any candid insight into the underground scene in the UK? Any tips or suggestions for South African bands considering the option?

The only thing you can do is write quality music and then try and get it out to as many people as possible using whatever means possible. We all know that there are thousands of bands out there and competition is fierce. But if you have quality tunes and can garner support from your local scene, then that is the best way to start. The internet provides an instant insight into your band – people want to click on your page and see cool live vids and see pictures of awesome shows – so if your local scene is going crazy at your shows, let everyone see it.

A lot of bands make it on ‘hype’ alone – but be aware that although perhaps easy to emulate your favourite bands, you will get far more respect if you try to have your own unique flavour. I think the UK has quite an accepting audience and if you can create a buzz online, then it would help a lot in getting shows over here. Just try to offer something people haven’t heard a million times before – every band needs a different angle. If you are more of a hardcore band, then really try and hit mainland Europe as there is a far bigger hardcore following there and they treat you really well over there too.

Devil Sold His Soul are working on new material at the moment. Any surprises in these new creative sessions?

Yes, lots. We’ve really gone to town on these new songs. It’s the first time we’ve recorded an album with our new drummer, Leks, so it has been great to add his style to the mix. There are lots of textures to the new stuff, whilst still maintaining the heaviness and melody. We can’t wait to record the songs properly and get them out for you to hear. Not long now!

Lastly, any specific input as to the choice of name Devil Sold His Soul?

I liked your interpretation. We like it when people interpret our name and music differently, as we feel that music should spark different feelings in each individual, we have our own thoughts of course, but I guess if a song makes you feel a certain way, then one persons opinion is no more/less important than the next. The main thing is that the music makes you feel something, that alone is the best part.

The name refers to dealing with change and the consequences of others. ‘The Devil sold his soul. Who to and for how much?’ This was the theme from which the name came from. It’s all about thinking about a situation and how that situation affects other people. Have you ever been in a situation where all was well and good until one person did something and in turn that affected your whole life forever? How did you feel? What happened next? How did you deal with it? This is where we are coming from – where we are headed, who knows? Hopefully to bigger and better things (and a trip to SA!!). Who knows? But there is hope.

Check out more from Devil Sold His Soul from their website: www.devilsoldhissoul.com

Also, check out Betraydan’s (Betray the Emissary) designs for a couple of Devil Sold His Soul T-shirts, approved by the band. You can catch these, and other awesome artworks, on his blog here.

Aiming our sights outside of South African borders again, and braving the language boundaries, Calibreed brings you news of a young Bulgarian graphic artist making a name for himself. We are pleased to introduce you to the work of Dimitar Bochukov, otherwise known as ‘Bocho’. With a strong influence from the ‘lowbrow’ art movement, Bocho manages to capture an illustrative style that is enigmatic and conspicuous, and perfectly suited as the backdrop for any macabre soundscape, and it’s with this in mind that Bocho has stepped into the SA underground scene with the Enmity release ‘Murderabilia’. Expect to see more of his work soon, and read the interview below for a little more insight into this exciting European artist.

You share your name with another famous Bulgarian artist, Dimitar Zograf. Is there a strong history of art in Bulgaria, and has this influenced your work or interest in art at all?
I am honored to share my name with such an illustrious artist like Dimitar Zograf. Yes, for me the Bulgarian history of art is strong and I am definitely influenced by it. Some of my Bulgarian influences are Ilia Petrov, Rumen Skorchev, Ivan Ninov.

You call the city of Plovdiv, on the banks of the Maritsa River, your home. Do you find specific inspiration from your city?
My town has always been inspirational for me. I was born and raised in Plovdiv and graduated from the Tsanko Lavrenov High School of Art there. During the time of my education, I was drawing the older part of Plovdiv a lot. The town looks very impressive and it could inspire any artist!

Were you always artistic as a child? What is your earliest piece of art you can remember?

It’s kind of hard for me to remember my first piece of art because it was probably some scribbles in a children book. But the first serious piece I made was St.George Kills the Dragon. I was 9 years old when I drew it. My father goes by the name of Geogri, so I gave him the work as a gift. He hung it in his workshop and it is still there.

What inspires you most to be creative?
I could be inspired by anything, but in general the insignificant details inspire me a lot. Sometimes it could be the texture of a small rock.

Which artists are your biggest influences on your work?
I like Leonardo DaVinci, El Greco, Velazques, Caravagio, Egon Shcile, Gustav Klimt, Vrubel, Repin, Kramskoi and the Bulgarian artists I have mentioned above.

Do you see a big relationship between art and music?
Yes there is a very strong bond between them two. They both express feelings and emotions, one can’t live without the other.

Your art seems to have strong political and moral undertones (including vegetarian themes). What are your thoughts on this?
Well, my older work was related to vegetarian and political themes indeed, but I have been drawing on different themes from a couple of years.

What other themes do you try express in your work?
It’s different every time.

How do people in Bulgaria imagine South Africa to be?
Wow, I can’t really speak for all Bulgarians, but as far as I know South Africa is a clean, sunny and wealthy country. A friend of mine lived there for 4 years in Pretoria. He was amazed by the tidiness and the well-managed system.

You have recently got involved in the South African Underground music scene yourself… Tell us a bit about that?
To be honest, I was very surprised when I have received feedback from the band Enmity. When I see something interesting I always respond to it. I was strongly impressed by the good attitude they showed me.

Where can people go to check out any more of your art?
At my website: www.bocho.name

What are your future plans as an artist? Where can we expect to see Dimitar Bochukov in the next 10 years?
Mmmm, it’s hard to say. I think I have to continue to do what I am doing and expect the best. That’s it.

It’s hard to argue that the SA underground isn’t only alive and healthy at the moment, but kicking as hard as any fervent baby trapped in the womb would. However today’s average gig caller has often lost touch with the roots of this complex local underground, that constantly shifts and cycles through different faces. Admitting my ignorance on the subject and taking on the perilous journey of research into this obscure and antiqued behemoth, I began to unearth something uniquely distinguishing. As you scratch on the surface of this dusty subject, you realize how intricate, essential and sometimes hysterical the history of the SA underground turns out to be.

Circus, live on stage.

Consider the face of South Africa prior to democracy, and you open yourself up to a world of actual opposition, struggle and protest, where the ideals and essence of the punk rock philosophy, if not the fashion trends, found a comfortable home. With the apartheid government asserting their dominance on media and  music, which was under constant threat of censorship and government spies as a consequence of speaking their mind, artists had more to worry about then a bad gig, broken string or poor turnout.  On another part of the same side of the coin, there was also the approach of “Fuck apartheid, let’s dance,” as fanzine of the time, Vula, put it.

The 1980’s in South Africa proved to be a defining point for many bands, willing to stand up and hit back against apartheid ideals, and punk proved to be the medium for a chosen few. Influenced by the British punk movement of the 70’s, certain bands quickly caught on and a new list of names rose to top of the broth, including Corporal Punishment, Radio Rats, Safari Suits, Dog Detachment, House Wives Choice, Wild Youth, Powerage, and many more. James Phillips, born in Springs, who formed the band ‘Corporal Punishment’ in 1978 with Karl Raubenheimer and Mark “Bertie” Bennett, and later ‘Cherry Faced Lurchers’ defined the movement of the time. Complete with alter-ego ‘Bernoldus Niemand’ (The ‘Slaughterer of Afrikaans Sacred Cows’), but without the Mohawks, piercings and leather jackets, Phillips related to the essence of the translated and relevant punk ideology in South Africa, expressing the frustration of a young white man from Springs, with all the expectations and preconceptions while being all too aware of an obviously flawed system.

CHERRY FACED LURCHERS

Commissioner Street in Johannesburg was home to a special loop-hole and a characteristically dark underground setting; a bar called Jamesons owned by Herbert Scheubmayr, which held a Kruger liquor license, overwriting the enforced segregation and liquor laws of the Government at the time, and allowing young eager South Africans of all colours to party, the seed of what we take for granted as The New South Africa today. The Lurchers earned themselves a residency at the club and cemented their impact on the SA underground scene of the time.

Sadly, James Phillips passed away suddenly in 1995 at the age of 36. Vusi Mahlasela, Johnny Clegg, David Kramer, Lesego Rampolokeng, Johannes Kerkorrel and others, gathered to pay tribute to Phillips, who ensured that through his music and passion the impact he made on the underground alternative scene made ripples that today have become waves, dominating local music.

Looking back a little further to the 1970’s and late 60’s, and a number of interesting bands stand up and tug away their coat to proudly expose themselves. Black Sabbaths ‘Paranoid’ reached number 3 on the SA Charts where it stayed for 11 weeks in 1970. In the local scene, this period reminds the older generation of names like Freedoms Children, Hawk, Rabbit, Abstract Truth, Circus and Suck.

Freedoms Children, 1968, Left-to-Right: Craig Ross, Colin Pratley, Harry Poulos, Julian Laxton and Ramsay MacKay

Considered one of the greatest bands to come out of South Africa, Progressive Acid Rockers ‘Freedoms Children’ had all the right ingredients to make it on a world stage. Hinting to the political situation at the time, and the impact on the band, Ramsay MacKay, bass player and creative force behind the band, has said: “You don’t call yourself Freedom’s Children in South Africa without a good reason. We were banned on most radio. Freedom’s Children meant something back then.”

Managing to drum up further controversy, Freedoms Children earned themselves the dubious title of the band that was brainwashing the youth as party goers would burst into mouth-foaming fits at their gigs. According to MacKay; “society, the press, the police and even the Mayor of Durban all tried to suppress what they thought was happening”. The reason for this turned out to be the homemade strobe-light the band used on stage (possibly the first time they had been used outside California), and the fact that no one at the time knew that the lights gave people epileptic fits, instead attributing it to the chaotic sound of Freedoms Children.

In what is now considered cliché 60’s fashion, South Africa didn’t miss the mind-expansion movement, with the lure of drugs and specifically LSD finding its way to the door of the band and being invited inside. MacKay has commented saying “Something subliminal happened to kids in the ’50s and ’60s that was precursor to the drugs,” he further explains: “One cannot understand the ’60s without knowing that drugs only played a part in what was naturally coming out of our brains. Drugs made a metaphor of which the reality was already in that generation.”

Clive Calder, who in later years was responsible for names such as Britney Spears and The Backstreet Boys (and yes, it was a South African responsible, we may owe the world some kind of formal apology there) has been quoted as saying:  “Freedom’s Children was then and probably still is today the only South African group that, given the right circumstances in the right geographical location, could have become an internationally successful rock band just by being themselves and doing what they did.” However, despite attempts to crack to UK market, the band was frustrated mostly due to the British policy on apartheid at the time and their refusal to issue work visas to the band, forcing them to gig illegally. One of their early performances include opening for Pink Floyd at the Country Club in Belsize Park and some publicity in US Billboard magazine, the review including; “The Freedom’s Children project is one of the most ambitious to be undertaken by a local group”.

The band peaked with what is often incorrectly referred to as a concept album ‘Astra’. However, in a trend that still plagues underground bands today, they imploded, citing one of the reasons the pressure they picked up from the controversy of being a creative and opinionated band during apartheid. “We played with black jazz musicians called Molombo Jazzmen, when it was against the law to be onstage with a black person. We played to a packed Durban City Hall with skeleton masks on and our hands painted white under florescent lighting. This was the first time a black and a white band had played on stage. We were at the forefront of the political situation. We were hounded by the police” says MacKay.

Launched as ‘Rock Circus’ in Port Elizabeth in 1975; the band later known as just ‘Circus’ demanded attention with their stage performance and theatrics in their glam rock outfits. Regularly filling up venues such as Pretoria’s OK Corral, and Hillbrow’s Bella Napoli, Circus became synonymous with the alternative scene and gained success in the face of creative suppression and attention from the powers that be. Once, in an attempt to cross the commercial divide of the time the band came up with the genius plot of including a cheetah in their music video (playing the part of ‘Long Legged Lady’) to circumvent negative opinion and convince censors of their tourist appeal. However, the end result was a riot in popular club ‘Ciros’ when the poor cat bolted through the crowd and crew at the attempted film shoot, the band clamoring over one another and their equipment trying to jump off the stage. All footage of the incident was banned, apparently due to the exposed nipples and eye shadow, and Radio 5 also refused to play any material by the band. However, as we all know, it takes more then one rampant cheetah to keep a good 1970’s Glam-Rock band down, especially one from P.E. and they continued to slug it out. Nonetheless, eventually most of the band slowly migrated to being the support tour musicians for local ‘all girl’ sensation ‘Clout’. Previously Circus arranged and backed Clout on their single ‘Substitute’ which went on to sell 9 million copies worldwide (and 250 000 copies in South Africa) and was number 1 in countries around the world. The members from Circus were each paid R34 for their work in studio on the song.

The Heaviest of the Heavy: SUCK.

Suck. The band formed in South Africa in 1970 who almost called themselves Fuck. “We wanted to be as controversial as possible” says bass player Louis “Moose” Forer. With previously unheard-of behavior in South Africa, which included staged mutilations and destruction of equipment during gigs, Suck quickly made a name for themselves and were in studio 3 weeks after they formed. Under the wing of Clive Calder, who before creating pop tycoons, also managed bands such as Hawk, The Otis Waygood Blues Band, and was considered one of the biggest names in the industry at the time, Suck found themselves in an unexpected but fortunate position. A big reason for the hype, which sadly distracted from their actual skill as musicians, was due to an enviable list of feats that most current bands would proudly aspire to. These included: Brandishing weapons on stage. Setting fire to the curtains at P.E.’s Feathermarket Hall. Being escorted to the border by Rhodesian Police, after being forcibly removed from planned gigs in the country. A yoghurt fight at Kingsmead Stadium. Destroying a Piano at the Selbourne Hall. Moose going after Brian Davidson of Freedom’s Children with an axe. Barred (sometimes with roadblocks) from entering certain towns, including Welkom. Although they had a very short career lasting only 8 months, Suck managed to secure the title of most controversial band in the country with these actions and more, while personally applying themselves on being proficient and eminent musicians. Sadly after much hype, greedy management and other issues, the band burnt out and went on the plaque of fallen heroes from South African history. Gil Gilroy went on to not only start Mame Enterprises, SA’s first nude magazine company, but now runs his own brewery on the West Rand called Gilroy’s (with two of his brews rated the best in the Southern Hemisphere). Andy Ionnides went on to play in other bands, (including one called ‘Faggott’) before forming a gospel band which apparently had great potential. He later found success with a bar in East London, but sadly also passed away in October 2000.

Suck were the forerunners of the controversy that still surrounds aspects of the underground music scene today, 38 years later. By shaking up the status quo in a country that was as stringent and turbulent as South Africa was at the time, Suck began one of the journeys that continues to this day with every moshpit, breathing with fists and sweat, every guttural scream into a microphone, and show how much attention an underground band can generate in just 8 short but contentious months.

Next time you’re beleaguered from the bar by some aging critic yelling for the band to turn down their amps and complaining about the unbearable rumpus, remind them about the good old days they miss so badly, when it wasn’t all lang-arm and sakkie. Of names like Suck, Circus and Freedoms Children, who managed to keep a caged society on its toes, legends like Phillip James, who defined and pioneered the concept of being a ‘New South African’ through his music, shaking the boat, contributing and shaping the healthy history South Africa continues to share with live music and underground bands today. And remind yourself especially when faced with the challenges of the underground, that this story continues writing itself, with all of us playing our part in today’s scene, another epic chapter in a book that was started a long time ago.

Perhaps to really get in the mood of the record, one needs to understand where Enmity is coming from, both in terms of the sequence of events that brought them here and in terms of the sound they are trying to sculpt.

When I saw Enmity’s first ever show, they were a five piece with no keyboards in sight and sounded more like really pissed-off early Thrice than anything else. Having risen from the ashes of street-punk and Sleeping At The Popes, their sound was refreshing in a time when emo was the new black. Then the band recruited Chloe, flirted with the notions of ‘scene metal’ and started offering tight but unoriginal deathcore, punctuated by melodic keyboard breaks. At this time, I was sourly disappointed by these undoubtedly talented individuals and cursed the ‘scene’ fad for miring down South African bands in mediocrity, somewhere between Bring Me The Horizon and Paramore. Thus, when Enmity finally announced that they are recording a full length, I didn’t wet my pants from excitement. Then… I heard the rough bounces of the new material and everything changed and, since, I’ve lost count to the number of soiled pairs of boxers I’ve had to burn in my back yard.

Murderabilia’s sound does not translate well onto page and herein lies its greatest strength. I would safely say that no band has done anything remotely similar to this in South Africa and I would be hard pressed to find an international one that has either. Enmity is pioneering its own sound and in South Africa, where 98% of bands are cheap rip-offs of international acts, this deserves recognition on its own. Add to that incredible mastery of instruments, melody, brutality and performance and you get, dare I say, one of the best South African albums to date. Listening to Murderabilia gave me the same feeling of hope and excitement as when I heard the Go Team EP, in my mind the high benchmark for SA music.

The recording process was a long and grueling one for the band, slowed down by numerous line-up changes and the decision to record at the bassist Jay Thompson’s home studio.
“We wanted total control over what we produce and we wanted to take our time perfecting the songs, making sure everything comes together exactly the way we saw it in our heads,” says Jay as he tweaks the bounces before sending them off to be mastered, the only process the band let out of their hands.

Enmity has set their sights on a correct target – aiming for a release of international standards in terms of originality, quality of music and album packaging. Some might say that any South African band has such a goal in mind, yet few bands have put in quite as much consistent effort and dedication to the art of creation as Enmity has. The band sadly sacrificed two of its original members in order to maintain the quality level that they wanted, with the new additions, Graham Pitout on drums and Francois de Vos on guitar, bringing that extra bit of precision to the overwhelming passion already there. Anyone who has seen Enmity destroy at the Haste The Day shows in May will surely testify to that.

“The album was everything. We recorded well into the night, almost everyday of the week,” says Ross, “From the moment we decided to cut the record, I refused to listen to new music. I wanted the riffs to be fresh and squarely mine, no subconscious melodies creeping into my head, thank you.”

The pay-off of this kind of approach shows when you put Murderabilia on. The band struggles with the question of influences and channels their unwillingness to sound like anybody else into some of the most interesting musical choices I’ve heard. Alain’s screaming, unmatched in terms of control and variation, blends seamlessly with Chloe’s singing – gone are the chunky transitions most bands experience. They throw in an electronic part here, an almost nintendocore bit there, all without loosing coherence and singularity of sound. Murderabilia is a child of a band that has clearly found their groove.
“Beauty and brutality, that’s what we wanted to achieve. Not broken up, but fused together…kinda like in life,” they say.

Now that Murderabilia is finished and polished, Enmity shows no intention of relaxing or slowing their pace. An extensive tour is scheduled for July to promote the record, hitting Durban, Port Elizabeth, Grahamstown, Bloemfontein and Joburg more than a few times. They will be almost constantly on the road starting from the 4th and only coming to rest in late July to play a number of shows on their home turf of Cape Town. As a band that has just spent months recording and rerecording, they are itching to get in your faces, break a few stages, showcase the new material and prove their place as the leader of the pack of South African metal/alternative bands. Having lived the insanity of their lives shows and having heard the bestial songs they are about to unleash, I am both jealous of and worried for you, the masses.

For now, as Enmity sharpens their axes and gets ready to swing into live action, I am content with watching a contingent of undertakers start to nod their heads and tap their fingers in time with the album, getting into music they have never come close to hearing before. As I leave, I see them sink their scalpels into fresh corpses, resuming their daily grim grind. The only difference is, nobody turned the record off.

Catch more from Enmity here: 

www.enmity.co.za

Article by Max Baranshenkov

It’s like being in a pit and getting hit in the face by a cast on a freshly broken arm. Just before it smashes into your nose and shatters your cartilage in a fountain of blood, someone else’s life flashes before your eyes, rainbows of hearts and sentiments on a plaster cast shell. And it hurts. Both of you. Cause under that messy, doodled exterior; you know there are bones of their own, still trying to mend. A few seconds later as your own memories rush back in, while your nose leaks out, you realise you want some more. Your mother warned you about this kind of kink. But you can’t help yourself. Turns out the lads from Yes Sir! Mister Machine have punches to spare.

Yes Sir! find a begrudging home in the vagueness of the ‘hardcore’ tag, but manage to turn the whole genre on its head in a completely fresh and necessary sound in SA, and pull it all off without being ostentatious. School friendships and MXit recruitment procedures (in the case of the ‘not-lead guitarist’, Pierre Sebastian du Toit) brought the fateful five together to deliver their special blend of mayhem to Somerset-West and Cape Town, (which is apparently soon changing its name to “Not-nearly-as-cool-as-Somerset-West Town”).

Picking up the pieces from their history in emo, indie and ‘black post-metal’ bands, the concept was finally put in motion midway through 2007. The initial model of the band was rather simple; Franco Fernandes who handles things up front armed with a mic explains; “Our basic plan was to go crazy, we just wanted to break stuff. We had all these stupid ridiculous plans in the beginning, we just wanted to make noise and break stuff”. However, the plan, though beautiful in narrative, proved less practical and more expensive than anticipated in action, and was abandoned a few shows in. Without sacrificing the intensity, but sparing the abuse on the equipment and stages, the band built up a fan base that was soon to be put to the test.

In 2008 Paul Melis, lead guitarist and sometimes-vocalist, left for almost a full year abroad, leaving behind many a broken heart and busted nose. Before his departure, they recorded and released a 5 track EP which hinted at the new path this band was determined to stomp, and setting them up to face high expectations in 2009. Proving the band can take a good hit and come back swinging, and under the dedicated wing of Ghosthunter Bookings, YS!MM recently supported CDC on their SA tour, including their first trip up to JHB. ‘Nobody seemed to get us initially in the Joburg scene, which I rather liked cause it meant we really are doing something fresh and unique out here. The feedback we did get was very positive and was quite humbling’ says Gideon de Kock who tames the bulbous bass beast. With tentative plans for a full length album released by the end of the year featuring the bands more focused new material, 2009 will also see YS!MM play alongside Haste The Day and build on their legion of gleeful fans.

Live at the Hidden Cellar, 31/05/2008

Julian Brookstone, commenting from behind the kit, sums things up nicely; “Tambourines during break downs can be fun”. It’s obvious this band that takes pleasure from performing on stage, and are honest about the image and intensity they feast on with their audience. Practicing as they preach, Gideon says: ‘When it comes to watching bands I much prefer if whoever they are on stage and off stage is the same. I hate when I see these metal bands, and I talk to them before and they’re nicest guys in the world but they get on stage and they’re all, ‘We’re so fucking metal! Fuck everyone!’ And I’m all, ‘Oh what happened to you?’ We like to just think we’re just us’.

More from the interview below:
What were the ideas and motivations initially going in to Yes Sir?
Franco: Well our basic plan was to go crazy; we just wanted to break stuff. We had all these stupid ridiculous plans in the beginning, we just wanted to make noise and break stuff. But you really cant do that.
Gideon: We kinda stopped after our fifth show.
Paul: We stopped when we realised it was working for band practice. When you have a broken amp for a year is great. No, no, it’s cool, what we’re doing is cool, we’re definitely doing what we want to be doing.
Julian: Yeah, I think what we’re doing now is what we had in mind when we started.
Paul: Yeah, definitely, we wanted to do something that no other bands in Somerset-West had really done.
Julian: Without trying though, without being pretentious.
Paul: That was a big motivation when starting the band. We didn’t want to come across as a bunch of kids that started a Hardcore band because we wanted to be in a Hardcore band.

And in the scene at the moment, do you see a lot of that still happening?
Franco: Totally. Me personally, Franco, I can’t handle it. I can’t handle the scene; I really don’t like it at all. I think in the scene everyone just tries too hard to dress right, have the right image. I’d rather go to a chilled show.
Gideon: I think personally, when it comes to watching bands and stuff, I much prefer if I can watch them and whoever they are on stage and off stage are the same people. I hate when I see these metal bands, and I talk to them before and they’re nicest guys in the world and they get on stage and they’re all, ‘We’re so fucking metal! Fuck everyone!’ And I’m all, ‘Oh what happened to you?’ that sort of thing. I think we like to just think we’re just us…

You released a demo a while ago. Is it a fair representation of the band, and are you looking to record again soon?
Gideon: It’s definitely doesn’t represent what we are about and the kind of sound we’re going for now.
Paul: I feel, and I feel I speak on behalf of the rest of the band, that the stuff on our demo doesn’t really illustrate what we’re about.
Gideon: Definitely, the stuff we’re been writing now and what coming out now is a lot more together.

What kind of new sounds are you going for?
Franco: I think it’s more… As cheesy as it sounds, people say music grows up. I think when we started the band we had an idea of what we wanted but when we look back we think, ‘what where we thinking?’
Paul: No true, I think we tried to do too much in our early stuff, we aren’t toning it down in the newer music we’re writing, but it’s a lot more focused and a lot more together.

Do you think with the scene growing as quickly as it is, there is a lot more pressure on bands to do high quality releases and videos etc, losing that DIY aspect?
Paul: Definitely, I think when we first sat down with Bryan (Ghosthunter) and discussed management; we said to him, all we want to do is play more shows. It’s gotten to the point now where realistically, if you want to ‘keep up with the Jones’s’ you got to think album launch, music video…
Franco: Things like MK at the moment though, are so completely monopolised. There’s like maybe 5 bands dominating, and anything else in the underground struggles so much to get anything out that’s going to compete with that, cause the music scene is run by like, the same people… Also, bands need to aim higher, cause a lot of them settle for a certain level of mediocrity, I think we really need to put time and effort, and spend the money to bring something new and decent. I mean, look at some of that stuff on MK, as much as I like the home video thing, it’s refreshing to see a band try aim higher.

Do you think having MK as one of the only media outlets for music videos makes them a realistic aspiration for struggling bands?
Julian: In terms of South Africa, the music scene is extremely limited, but you can’t let that limit you. There are definitely a lot of good bands out there who want to get in and make a great video, but it’s not that easy.
Franco: I think also, I prefer to get an album from a band doing the DIY thing and listen to it, and then go to the show and see what I’m hearing and say, ‘This is just like the album!’ A lot of the time a band releases and album and music video, and you go and see them and you think, ‘You know what? This is terrible’. It’s kinda a bummer.

What is it about Yes Sir! That excites you personally?
Julian: I like that it’s not dark, and metal, we’re not trying to give ourselves a metal image.
Paul: It’s a hard question. You can’t really be objective in that sense. But I think, I think just the fact that we try, whether or not we get it right is another question, but we try and do something new, that isn’t typical of the scene. In South Africa anyway, and I think that’s just what I would be looking for in a band.
Franco: I think we want to play what we want to play, whether it’s in or not. And if it was in, that’d be fine too; I wouldn’t feel like I was putting on this facade that we’re not. If we’re doing what we want to do and it’s comes across as that and it’s good, whether we’re liked or not doesn’t really matter to me.
Gideon: And having fun doing it, that’s the most important thing. The fact that some people actually started to like it is really humbling, it’s really cool. We’re playing music cause it’s super-fun and we love doing it, and if people enjoy it, then hey that’s kinda cool.

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