Introducing the Underground
All right.
This is the longest article I've written yet. It's also most likely going to end up being pretty opiniated in parts. Then again, that's kind of my thing. The point of this precursor paragraph isn't to state the obvious however, it is an invitation. I want this article to be a discussion of sorts. So if you agree, disagree or want to add anything to what I'm about to say, hit us up on Facebook or Instagram. Let's have some fun.
This past weekend has been probably one of the most significant in the 012 and 027's calendar for 2019.
First, let's talk venues.
Tweefontein and That 70's can't be faulted. It is my favorite festival bar Endless Daze. Picturesque, affordable, and most importantly it's support of local music and a music first attitude make for a festival more enjoyable and unique than any of it's kind in Gauteng, and one of the best in the country. Totally unmissable.
Aandklas has been around since I was a kid, love it or hate it, it is the closest thing to a landmark the 012 has to a musical landmark. The only issue I've ever had has been it's seeming unwillingness to evolve with the music scene. Sure, they have the occasional local bands, but it's increasingly difficult to book a gig without an intermediary. High five to Uncle Mothers and Boogy Central for doing their part and smashing it out the park Friday. Can we blame Aandklas though? When a venue reaches a certain level of significance it becomes commonplace to entertain acts such as Jack Parow, Fokofpolisiekar and the like regularly. Simply because it's mutually beneficial and often necessary to keep the doors open for as long as they have, and people fucking dig it. So no, I don't think you can. My only request would have to be, improve the stage sound and maybe update the playlists a bit dudes, it ain't too asking too much.
As for the bands. Between the 16 bands we watched over two days at both Aandklas and That 70's Fest, it seems to me it would be superfluous to analyze every set. So, consider every band that played a solid 8/10. That isn't being lazy or permissive, I genuinely didn't see a single set worth a lesser rating, picking standouts just makes more sense to me. Sue me.
Secondly, I want to point out something that I've mentioned here before and believe in quite passionately.
The greatest thing that has happened to the music scene in Gauteng in recent years has been the advent of the likes of Uncle Mother's, Boogy Central, and more recently Bunk. These guys are the hand in the darkness, not just in organizing tours, booking venues or bringing over much needed international attention and bands to our shores, but also in ensuring each gig is catered to a certain ambience and theme unique to every single gig. Not to mention ensuring newer bands are not just thrown in the deep end, but are ready to uphold a level of quality that has been sorely missed in the past. If any of you guys are reading this, thank you. Seriously, it's such an integral and difficult job and I hope you know how much it's appreciated. We're in safe hands, and we have to do everything we can as fans and artists alike to support and further the work they're doing. I for one am eager to play a part and I'm sure you, reading this, are too.
Now for the fun part.
I've chosen 5 bands to highlight here, but again, every single band that performed this weekend earned and deserve your attention and support. So go check the full line ups below.
#5
The new kids on the block.
(Heads up. Dystopia consists of two former members of this band. We promise no bias is intented, we highlight those who deserve it, or illustrate a point we're making. There are no exceptions.)
Double Sun are a 4 piece project out of Pretoria.
Veteran and loyal supporters of the local music scene for the past 5 years (odds are you've run into these dudes at almost every bar in Gauteng at some point,) they are heavily influenced by the sound coming out of several of the best local and international artists. Starting off as a psychedelic-blues hybrid, they evolved into a sound containing part indie rock, alternative, and hints of their blues roots. Aandklas was their biggest gig to date, and they delivered a set that would have made even the most experienced band of the weekend proud. They are one of many grasroots acts to watch at the moment, and with a simultaneous EP release and planned tour with a few other newer bands coming soon, they're finally making the waves they deserve. Solid 8/10. Exciting times.
#4. Yndian Mynah.
It was my first time seeing these dudes at 70's Fest this year, but I had been watching them for a while.
Psych Rock was my first musical love, from the level of difficulty, to the experimental style, to the fluid motion and attitude of both the live show and the music. Yndian Mynah ticked all the boxes. The crowd agreed by the looks of it. The band blended in beautifully with the setting of Tweefontein and their post rock psychedelia filled every nook and cranny that the crowd couldn't squeeze into. In short, they are the band I'm most excited to see more of at the moment, and another gorgeous reminder of Cape Town's unassailable ability to birth new and unique artists. 9/10 without question.
#3 Deaf Poets.
I knew very little of this American garage rock two piece when their tour was announced. I listened to their online catalogue and yeah, I digged it, but I was hesitant about their live show. You see, I have this, often irrational, fear of a band being over produced in studio and their live sound suffering as a result. It happens so often, either intentionally or not, and to be fair I understand the merit in what bands who choose to go the heavily produced route are trying to achieve. When it works, it works. My opinion is that the live show is the first and foremost reason to make music, everything else is secondary. From stage presence, to instrumental chemistry and sound quality, Deaf Poets exceeded every expectation I had.
The band proved as heavy as any of our local acts as well as maintaining a style and melodic consistency that so many bands would kill for. The drummer running around stage, taking a lie down on certain parts only to jump back on his set without missing a single beat, and the guitarist/vocalist jumping up and down the stage and drum kit while nailing every riff and vocal part is not only proof of an experienced act, but of a band that enjoys and prioritizes their live performances as much as their recorded pieces. They're on tour through SA along with The Tazers and other locals for a while still, and I highly recommend checking them out if they're in your town. Come back to South Africa anytime dudes, tell your friends to come too, and we'll get ours to visit you over in the states. 9/10 gig from our new international friends.
#2
I decided to give the #2 spot to two acts, my article, my rules, fight me. The Runaway Nuns and Mouse.
Both two of the nicest groups of people I've met in the scene. Both standout groups of musicians. Both incredibly prolific and dedicated bands. Both a kind of archetypal example of the 031 and 021 respectively. Both incredible live performers.
Mouse are a two piece, while a murmer of Nuns fill up the stage. They are undoubtedly unique musically speaking, and yet they draw similar crowds, engaging the listeners totally with either the heavy riffage of Mouse, or the melodic, alternative style of Runaway Nuns.
This weekend they were both magnificent. The Nuns just finished a massive album launch tour, while Mouse are about to tour in the former's home city right after launching From The Soul Studios in Durban. If you don't know this already, they are two of the best and most exciting acts around right now. If you don't see them the next chance you get, you're missing something big.
9/10 performance by both of these bands. Can't wait for next time.
I set out to discuss three points in this article, so far so good I hope.
To recap.
#1 Venues are obviously essential to the scene, but bar the odd diamond like That 70's, Smoking Dragon and Endless Daze, both festivals and live venues, old and new, have a lot of work to do to reach their potential.
#2 Without dedicated, hard working groups such as Uncle Mothers, Boogy Central, or Cape Town's Psych Night and Now Now Just Now to name a few, it would be almost impossible to realise the dream of the thriving scene we all work for. Support them, do your part as they do their's, and we'll reap the benefits together.
And lastly, "drumroll please..."
This last part has two opposing facets. (by the way, if you're still reading this, I love you.)
The standout performances of the weekend to me, where not necessarily the best sets I saw. They stood out because of something else, significance. More specifically how significant change is to a band, how it affects them along with how they adapt to deliberate or unexpected changes.
We Are Charlie first. This band has played some of the most entertaining sets at some of the biggest events I've seen in my time. Interestingly, in my opinion the two biggest turning points for the band was the same change, just in reverse the second time. Their newest album was stellar, they grew a following, that was already able to fill almost any venue already, into one even the biggest musicians in SA would kill for.
A sudden change can make or break a band, or in this case, both. Here, in a band where an individual is just as important as every other cog in the musical machine, but certainly not irreplaceable, a member arriving and later leaving helped a group improve exponentially, but also ended up playing a major part in it's end. I really liked We Are Charlie, this is not meant as a criticism. I'm sad this is the end and I look forward to seeing the breakoff project, The Klubs, in action. My point is that if you're going the musical route, sudden change is inevitable, and you can't always control it, but you always have to be ready for it.
The gig itself? Solid, a fond farewell. 8/10.
Change is a coin. Toss it, and hope to hell you guessed the right side. Which brings me to the #1 set from That 70's Fest, fucking finally.
#1
Ruff Majik
The raw emotion of this gig is what made it the best for me. From the first hug I gave these dudes, I could see how much this meant to them. From the moment I met them at the same festival a little over a year ago I knew that they were working to change the game, deliberately, no matter the risk. Johni's work ethic and management and/or business skills are a massive part of why we started Dystopia. We learned almost everything we know about the music scene from this band. Yeah we're seriously gonna miss them, we all are, but seeing their hardwork starting to pay off is inspiring beyond words. I'm not done learning from you guys, and I'm sure as fuck coming over to Germany to see you all.
Setting in motion deliberate changes in a band can often prove a lot more risky than unforseen changes. It's always dangerous. Which makes it all the more difficult, all the more important, and all the more satisfying when it actually pays off. High five to Ruff Majik, you guys went from Lydenburg and Schivas gigs, to accomplishing something incredible, living in and touring Europe. All in a ridiculously short period of time, and all because of a shared dream and a fuck tonne of hard work.
The set itself is sort of a blur, as headliners tend to be when you'd been drinking all day. What I remember is every single person in the crowd and on stage smiling and jamming along for the last time in a while. We all knew it was the last time, but no one needed to say it. A passing, silent nod, a final, vehement head bang, a wordless bear hug, or a familiar riff's seering crescendo was all anyone needed to say goodbye, and good luck.
This isn't goodbye. It's see you later.
Ruff Majik aren't leaving.
They're blazing a trail, setting a bar for the rest of us to join them in attempting something magical, something to strive for, and something to aspire us all, from the rookie journos to the photographers and bands that help make this scene something we all know and love.
A final 10/10 performance 3 years in the making.
Thank you dudes, for everything. Good luck in Europe. Go and show them why we all love you so much.
This is the longest article I've written yet. It's also most likely going to end up being pretty opiniated in parts. Then again, that's kind of my thing. The point of this precursor paragraph isn't to state the obvious however, it is an invitation. I want this article to be a discussion of sorts. So if you agree, disagree or want to add anything to what I'm about to say, hit us up on Facebook or Instagram. Let's have some fun.
This past weekend has been probably one of the most significant in the 012 and 027's calendar for 2019.
First, let's talk venues.
Tweefontein and That 70's can't be faulted. It is my favorite festival bar Endless Daze. Picturesque, affordable, and most importantly it's support of local music and a music first attitude make for a festival more enjoyable and unique than any of it's kind in Gauteng, and one of the best in the country. Totally unmissable.
Aandklas has been around since I was a kid, love it or hate it, it is the closest thing to a landmark the 012 has to a musical landmark. The only issue I've ever had has been it's seeming unwillingness to evolve with the music scene. Sure, they have the occasional local bands, but it's increasingly difficult to book a gig without an intermediary. High five to Uncle Mothers and Boogy Central for doing their part and smashing it out the park Friday. Can we blame Aandklas though? When a venue reaches a certain level of significance it becomes commonplace to entertain acts such as Jack Parow, Fokofpolisiekar and the like regularly. Simply because it's mutually beneficial and often necessary to keep the doors open for as long as they have, and people fucking dig it. So no, I don't think you can. My only request would have to be, improve the stage sound and maybe update the playlists a bit dudes, it ain't too asking too much.
As for the bands. Between the 16 bands we watched over two days at both Aandklas and That 70's Fest, it seems to me it would be superfluous to analyze every set. So, consider every band that played a solid 8/10. That isn't being lazy or permissive, I genuinely didn't see a single set worth a lesser rating, picking standouts just makes more sense to me. Sue me.
Secondly, I want to point out something that I've mentioned here before and believe in quite passionately.
The greatest thing that has happened to the music scene in Gauteng in recent years has been the advent of the likes of Uncle Mother's, Boogy Central, and more recently Bunk. These guys are the hand in the darkness, not just in organizing tours, booking venues or bringing over much needed international attention and bands to our shores, but also in ensuring each gig is catered to a certain ambience and theme unique to every single gig. Not to mention ensuring newer bands are not just thrown in the deep end, but are ready to uphold a level of quality that has been sorely missed in the past. If any of you guys are reading this, thank you. Seriously, it's such an integral and difficult job and I hope you know how much it's appreciated. We're in safe hands, and we have to do everything we can as fans and artists alike to support and further the work they're doing. I for one am eager to play a part and I'm sure you, reading this, are too.
Now for the fun part.
I've chosen 5 bands to highlight here, but again, every single band that performed this weekend earned and deserve your attention and support. So go check the full line ups below.
 |
| Double Sun, by Brennian Labuschagne |
#5
The new kids on the block.
(Heads up. Dystopia consists of two former members of this band. We promise no bias is intented, we highlight those who deserve it, or illustrate a point we're making. There are no exceptions.)
Double Sun are a 4 piece project out of Pretoria.
Veteran and loyal supporters of the local music scene for the past 5 years (odds are you've run into these dudes at almost every bar in Gauteng at some point,) they are heavily influenced by the sound coming out of several of the best local and international artists. Starting off as a psychedelic-blues hybrid, they evolved into a sound containing part indie rock, alternative, and hints of their blues roots. Aandklas was their biggest gig to date, and they delivered a set that would have made even the most experienced band of the weekend proud. They are one of many grasroots acts to watch at the moment, and with a simultaneous EP release and planned tour with a few other newer bands coming soon, they're finally making the waves they deserve. Solid 8/10. Exciting times.
#4. Yndian Mynah.
It was my first time seeing these dudes at 70's Fest this year, but I had been watching them for a while.
Psych Rock was my first musical love, from the level of difficulty, to the experimental style, to the fluid motion and attitude of both the live show and the music. Yndian Mynah ticked all the boxes. The crowd agreed by the looks of it. The band blended in beautifully with the setting of Tweefontein and their post rock psychedelia filled every nook and cranny that the crowd couldn't squeeze into. In short, they are the band I'm most excited to see more of at the moment, and another gorgeous reminder of Cape Town's unassailable ability to birth new and unique artists. 9/10 without question.
 |
| Mouse, by Henry Engelbrecht |
#3 Deaf Poets.
I knew very little of this American garage rock two piece when their tour was announced. I listened to their online catalogue and yeah, I digged it, but I was hesitant about their live show. You see, I have this, often irrational, fear of a band being over produced in studio and their live sound suffering as a result. It happens so often, either intentionally or not, and to be fair I understand the merit in what bands who choose to go the heavily produced route are trying to achieve. When it works, it works. My opinion is that the live show is the first and foremost reason to make music, everything else is secondary. From stage presence, to instrumental chemistry and sound quality, Deaf Poets exceeded every expectation I had.
The band proved as heavy as any of our local acts as well as maintaining a style and melodic consistency that so many bands would kill for. The drummer running around stage, taking a lie down on certain parts only to jump back on his set without missing a single beat, and the guitarist/vocalist jumping up and down the stage and drum kit while nailing every riff and vocal part is not only proof of an experienced act, but of a band that enjoys and prioritizes their live performances as much as their recorded pieces. They're on tour through SA along with The Tazers and other locals for a while still, and I highly recommend checking them out if they're in your town. Come back to South Africa anytime dudes, tell your friends to come too, and we'll get ours to visit you over in the states. 9/10 gig from our new international friends.
 |
| Deaf Poets |
#2
I decided to give the #2 spot to two acts, my article, my rules, fight me. The Runaway Nuns and Mouse.
Both two of the nicest groups of people I've met in the scene. Both standout groups of musicians. Both incredibly prolific and dedicated bands. Both a kind of archetypal example of the 031 and 021 respectively. Both incredible live performers.
Mouse are a two piece, while a murmer of Nuns fill up the stage. They are undoubtedly unique musically speaking, and yet they draw similar crowds, engaging the listeners totally with either the heavy riffage of Mouse, or the melodic, alternative style of Runaway Nuns.
This weekend they were both magnificent. The Nuns just finished a massive album launch tour, while Mouse are about to tour in the former's home city right after launching From The Soul Studios in Durban. If you don't know this already, they are two of the best and most exciting acts around right now. If you don't see them the next chance you get, you're missing something big.
9/10 performance by both of these bands. Can't wait for next time.
 |
| Runaway Nuns by Brennian Labuschagne |
I set out to discuss three points in this article, so far so good I hope.
To recap.
#1 Venues are obviously essential to the scene, but bar the odd diamond like That 70's, Smoking Dragon and Endless Daze, both festivals and live venues, old and new, have a lot of work to do to reach their potential.
#2 Without dedicated, hard working groups such as Uncle Mothers, Boogy Central, or Cape Town's Psych Night and Now Now Just Now to name a few, it would be almost impossible to realise the dream of the thriving scene we all work for. Support them, do your part as they do their's, and we'll reap the benefits together.
And lastly, "drumroll please..."
This last part has two opposing facets. (by the way, if you're still reading this, I love you.)
The standout performances of the weekend to me, where not necessarily the best sets I saw. They stood out because of something else, significance. More specifically how significant change is to a band, how it affects them along with how they adapt to deliberate or unexpected changes.
We Are Charlie first. This band has played some of the most entertaining sets at some of the biggest events I've seen in my time. Interestingly, in my opinion the two biggest turning points for the band was the same change, just in reverse the second time. Their newest album was stellar, they grew a following, that was already able to fill almost any venue already, into one even the biggest musicians in SA would kill for.
A sudden change can make or break a band, or in this case, both. Here, in a band where an individual is just as important as every other cog in the musical machine, but certainly not irreplaceable, a member arriving and later leaving helped a group improve exponentially, but also ended up playing a major part in it's end. I really liked We Are Charlie, this is not meant as a criticism. I'm sad this is the end and I look forward to seeing the breakoff project, The Klubs, in action. My point is that if you're going the musical route, sudden change is inevitable, and you can't always control it, but you always have to be ready for it.
The gig itself? Solid, a fond farewell. 8/10.
Change is a coin. Toss it, and hope to hell you guessed the right side. Which brings me to the #1 set from That 70's Fest, fucking finally.
#1
Ruff Majik
 |
| Ruff Majik by Suné van Tonder |
The raw emotion of this gig is what made it the best for me. From the first hug I gave these dudes, I could see how much this meant to them. From the moment I met them at the same festival a little over a year ago I knew that they were working to change the game, deliberately, no matter the risk. Johni's work ethic and management and/or business skills are a massive part of why we started Dystopia. We learned almost everything we know about the music scene from this band. Yeah we're seriously gonna miss them, we all are, but seeing their hardwork starting to pay off is inspiring beyond words. I'm not done learning from you guys, and I'm sure as fuck coming over to Germany to see you all.
Setting in motion deliberate changes in a band can often prove a lot more risky than unforseen changes. It's always dangerous. Which makes it all the more difficult, all the more important, and all the more satisfying when it actually pays off. High five to Ruff Majik, you guys went from Lydenburg and Schivas gigs, to accomplishing something incredible, living in and touring Europe. All in a ridiculously short period of time, and all because of a shared dream and a fuck tonne of hard work.
The set itself is sort of a blur, as headliners tend to be when you'd been drinking all day. What I remember is every single person in the crowd and on stage smiling and jamming along for the last time in a while. We all knew it was the last time, but no one needed to say it. A passing, silent nod, a final, vehement head bang, a wordless bear hug, or a familiar riff's seering crescendo was all anyone needed to say goodbye, and good luck.
This isn't goodbye. It's see you later.
Ruff Majik aren't leaving.
They're blazing a trail, setting a bar for the rest of us to join them in attempting something magical, something to strive for, and something to aspire us all, from the rookie journos to the photographers and bands that help make this scene something we all know and love.
A final 10/10 performance 3 years in the making.
Thank you dudes, for everything. Good luck in Europe. Go and show them why we all love you so much.
 |
| Majik by Suné van Tonder |
 |
| Crowd surfing by Suné van Tonder |
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