Songs recorded in 2004 when the girls were around 12 years old. They wrote all the material themselves and were edited and nudged along by Warrick Sony who was very inspired by “the Shaggs”
released 04 November 2004
photographs by Mark Baldwin
recorded at Milestones Studios Cape Town www.milestones.co.za
THE LEGENDARY MUD ENSEMBLE AT LAST BRINGS OUT THAT LONG AWAITED CD.
The album is a compilation of selected songs between 1993 and 1999.
Anyone that went to their concerts in the 90s know that every concert was a viceral experience for itself. Every live show was an event.
Theire filmic sensibility on stage ,and use of performance art, ritual, voodoo and alchemy made them one of the most important art /music movements of its kind in the 90s in south africa.
Even though apartheid had finally come to an end ,we where all still full of the scars of that time.There wasnt a person in Yeoville ,Kensington,Hillbrow or Troyville or Soweto that hadnt seen it all .
Their legendary concerts at Bobs bar or The Fig gallery are still to this day ingrained on our consciousness.
Never will the rest of the world know or understand how we lived, even though they arrogantly claim too. Today a few of us still remain to tell the tail of Johburg, no Hollywood production will ever be able to catch it on film. The Mud Ensemble helped us reflect our heritage face our own downfalls and also see the beauty inherent in the grimey streets of Jozi.
Marcel Van Heerden
Libbie Du Toit
released 01 April 2011
Mastering by Joseph Suchy (Berlin)
Released by Amatafula Tonträger
Cover design by Gerald Weitenhagen/ www.sleevegum.com
The long awaited album of songs from the K.Surfers who’s last album just before the soccer World Cup saw them tour the UK with the African Soul Rebels tour.This is quite different in that it harkens back to their early song and satire material. The first album they’ve done which really explores that connection ..ie the bridge between their political songwriting of the 80s and South Africa now.
Genre wise,its always difficult with the Surfers but,I guess we are talking Folktronic which, I suppose implies a certain lack of edgyness which would be incorrect so I’d go for ElektRetro or maybe taking the “L” out of Folktronic . Sony after all did work with Die Antwoord before their big break under the name Bennie DeBruin so deserves the Foktronic tag. Every song smacks home a strong clear lyric of “I-wish-I-had-written-that” magnitude. Go listen on their Bandcamp site for free. It is a dense work so you need two or three passes at it. Their are even 3 or 4 free downloads and while you are their check out the EP album recorded at the Cape Town Electronic Music Festival which contains all new material too. Prolific output.
This album has been an attempt to integrate my earlier more political songwriting work with my dub inspired electronica of the 90’s and 2000’s. Its taken me a little over a year to complete these songs, most of which were written on the train traveling to and from the city of Cape Town where I compose at Milestone Studios. Inspiration and feelings coming straight from the mess of governance that has been precipitated by the palace coup of the communist Trojan Horses within our democratically elected government.
We used to joke in the 80’s about Comrade Dollar ( a well moneyd “communist” with expensive tastes) only to see this emerging well beyond anyone’s imagination.
I feel great unease for the future when I read in the ruling parties online magazine phrases like:
“The Ideological Third Force”
“this anti-majoritarian agenda”
“expose the liberal offensive”
“Cadre deployment and redeployment”
terms which belong to another era …an era which I have eluded to with my choice of title and which I think we would do well to move away from.
Many of the tunes are personal vignettes from my book of dreams or life shaking experiences that have found their way into song of sorts which as in real life bump up against the political…but then everything is political
released 01 May 2012
recorded and produced at Milestone Studios Cape Town South Africa www.milestones.co.za* “Wings of a Stingray” was recorded live at
the Cape Town Electronic Music Festival 2012www.ctemf.com
This album, released by Tic Tic Bang in the late 90’s was the culmination of work done by Brendan Jury and Warrick Sony under the name TransSky. It explores the fusion of dance/ triphop and social comment with unique african sound samples and (what was then new) drurn & bass techniques. The band toured with Massive Attack opening for them during their South African ” Mezzanine” tour.
Immediate download of 13-track album in your choice of MP3 320, FLAC, or just about any other format you could possibly desire.PLUS scans of 16 page booklet from original CD cover art plus extra pics from the Massive Attack tour. Buying the whole album gets you a free mystery track
TransSky was Brendan Jury & Warrick Sony
Johannesburg-Cape Town South Africa circa 1996-1999
Recorded at Shifty Studio in Johannesburg & Cape Town
engineered by Warrick Sony
arrangements Brendan Jury
photography by Dror Eyal
concept and design by Adriaan Louw
Juliana Venter b.vocals on Blue Flame
management Patrick Horgan
thanks to Lloyd Ross
released by Tic Tic Bang BANGCD039
Three big things happened to me in 1987: I returned to South Africa after a year of touring my Kalahari Surfers band in the UK, I met my wife and I saw a band called Koos. They were, for me, the only South African band that fitted in with the work I was doing with Recommended Records and the political climate of the time. I saw them play at “The Pool CLub” and later again at “The Black Sun” in Johannesburg.They performed with incredible intensity combining theatre, art and music with punk sensibility, and best of all using the Afrikaans language which the best expressed , in my opinion, the peculiar zeitgeist of the 80’s. Not only the South African 80’s but the global cold war 80’s. Like German, Afrikaans has an angst that grabs the soul. I approached them about recording and brought them into the Shifty Studio* one Sunday morning where most of their tracks were laid down live. Shifty had already begun recording some of the Afrikaans punk bands like Gereformeerde Blues Band and Bernoldus Niemand. KOOS were different though:they fitted somewhere outside of the light entertainment market. It was hard. I think of the Brecht quote “Art is not a mirror held up to reality, but a hammer with which to shape it.” Essentially a live studio album, it was recorded straight onto a Fostex B16 and digital SonyPCM ( the first digital recorder on the market). The recording was released as a cassette tape in a brown paper bag stamped with the word “KOOS”. Some months later, I recorded one of their performances live at the Black Sun, from which 2 bonus tracks appear here Here, then ,is the KOOS cassette packaged for CD reissue and now for MP3 release through Sjambok. As they say “Oud maar nog nie koud” Warrick Sony – Kalahari Surfers www.kalaharisurfers.co.za Lloyd Ross and I ran a small mobile studio called “Shifty” which was situated in a derelict mining village South West of the city of Johannesburg. Check out the Shifty Records website: www.shifty.co.za I will be uploading their releases here shortly.
Ironically, the first full Shifty project was not a punk or new wave band at all, but Sankomota , recorded in Lesotho in late 1983. I had heard them whilst working on a documentary in Lesotho earlier that year. At that stage the band was a three piece, but they had previously toured South Africa with a larger outfit under the name Uhuru. Because of their lyric content, their name and the provocative onstage outbursts of a band member who went by the name of Black Jesus, Sankomoto were thrown out of the country.They were now in a pretty dire situation for a band wanting to record. There were no studios in Lesotho, which was and is the only country in the world completely surrounded by another country – in this case South Africa, where they were forbidden entry. They were of course too broke to fly elsewhere. This is when I discovered the benefits of owning a mobile studio. I parked the caravan outside the recently deserted studios of Radio Lesotho, ran a cable inside to one of the rooms and we were in business.
Recording Sankomota taught me a lot about producing music and working with artists, but I also learned painful lessons about the recording industry in South Africa at large. We had made what was patently a good album; it’s subsequent track record and critical acclaim confirms that. But no record company was willing to release it. The music did not conveniently fit into any of the industry’s pigeonholes, and no one could see past that. This bias against original, or edgy music was reinforced by the broadcast media with their safe and restrictive play lists. Sankomota failed a number of tests in this regard. Firstly, they sang in different languages, which violated grand apartheid’s pipedream of keeping all languages pure and separate. Secondly, the lyrics referred to what was really happening in the country, which was of course a total no-no. And finally, the music was eclectic, a concept that has confused industry marketing departments since the invention of the gramophone.
These experiences were to repeat themselves with almost every record that I produced over the next decade. But I was young and naïve at the time, so I decided to set up my own record company and do what nobody else was willing to do. Thus Shifty Records was born.
Lloyd Ross : Shifty Records ,Johannesburg -2010
released 11 November 1983
Frank Moki Leepa – Guitar
Moss Nkofo- Drums
Maruti Selate-Bass& sessions by:
Sunshine Moena – Keyboards
Sponky Tshabala – percussion
William Ramsey – tenor sax
Rick Van Heerden – alto sax
Stompie Monana – trumpet ,flugel horm
Warrick Sony trombone & percussion
Lloyd Ross – producer ,additional guitar,keyboard, etcphotos by Lloyd Ross
cover by Caroline Cullinan
Shifty Record: Shift1
Maruti, Moss and Frank outside the Uhuru Cub in Maseru 1983