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REINCARNATED: Theocracy Reign Ivine Order of the Nyabinghi

one small seed — Fri, 08 Mar 2013 10:12:47 +0000

Snoop Lion‘s forthcoming reggae and dancehall-influenced album, REINCARNATED, drops on April 22, 2013. In this exclusive bonus footage from the album’s accompanying film, Snoop Lion reflects on his trip to the Nyabinghi temple where he learned about the importance of dreadlocks and herb in order to get fully whipped-and-dipped with the Rastafarian programme. (Length: 03:07)

Presented by VICE Films and Snoopadelic Films, the documentary gives viewers unprecedented access as Snoop reflects on his turbulent and rapid rise from Long Beach to international icon to his rechristening as ‘Snoop Lion‘ through his visit to Jamaica, where the culture and people influenced him greatly. Join Snoop on his journey from Dogg to Lion.

The album is executive produced by Diplo and Major Lazer with features from Drake, Chris Brown, Busta Rhymes, T.I., Akon, Rita Ora, Dancehall stars Popcaan and Mavado and more. REINCARNATED will be released in conjunction with Berhane Sound System, Mad Decent, VICE Music and RCA Records.

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Jozifest Burns Down the Highway Skyline

one small seed — Tue, 07 Feb 2012 14:34:21 +0000

©Tomorrow Never Happened

Picture this, directly underneath the M1 Highway is a stage blaring the most potent of dub-step; non-stop. A sea of possessed bodies going crazy giving way to sound at the speed of 140bpm – repetitively. It’s a powerful sound that gives impetus to move like possessed junkies.

Its high energy, charged with the kind of electric feel MGMT sing of and just simply the stuff an epic party is made of. Just a few feet away is another crowd, with a low hanging cloud of smoke and the smell of Mary Jane in the air, bopping to the sounds of the reggae soul of Tidal Wave. Around the corner in a little nook is some hardcore drum ’n bass enough to break ya’ fucking neck. Jozifest boasted three stages; The Mash stage, The Monster Energy stage and the KillCool Stage. The Mash stage was truly pumping!

In the heart of Newtown, the alternative capital, The Mills complex provided the platform for one of the most fervent celebrations of live music in the city of Johannesburg. Jozifest emphatically brought back live music festival culture to the very pulse of Joburg living. Too often, one has to slum it out in the ‘bundus’ to get a fix of raw live performances and a taste of live music festivals. In a different strand, Jozifest unlike Oppikopi, Synergy or Rocking the Daises, ditches the veld to bring a Live Music Festival to the fabric of the city of Johannesburg.

©Tomorrow Never Happened

The poster reads: ‘One Weekend, 11 International Acts and over 40 of South Africa’s most renowned artists!’ The organisers delivered on that promise, though there were some bands missing in action due to last minute cancellations or for whatever reasons. I could have sworn there were more and more artists as the line up just kept getting better. Big-ups has to go to the organisers (Cool Runnings, Fourways; Killcool; Hilltop Live; Monster Energy ) for plugging in some of South Africa’s biggest live acts. The programme featured aKing, Zebra and Giraffe, Fokofpolisiekar, Double Adapter, Taxi Violence, Tasha Baxter, Popskaar, Foto Na Dans, Lark and Josie Field to name but a few local smashing acts. Never mind the fact that crowd puller – Die Antwoord - snubbed the fest last minute to make an appearance at the David Letterman show, the turnout was beyond massive. It really shows the hunger for live music in Jozi.

©Tomorrow Never Happened

I guess my only side eye was the frantic shuffle in programme, which meant I missed some of my favoured acts. Lark was scheduled to perform in the afternoon on Sat, but while spinning in the vortex of dubstep; heard I missed them in the evening. What the fuck.

On the main stage, Tidal Waves murdered everyone with some reggae blues. ‘Original music for original people’ is their mantra and boy do they deliver. These guys are so talented they had me wondering where the hell they have been considering they have been in this game for 10 years. Tasha Baxter was lively on stage. I charge the organisers with a crime, a good crime: there was just so much variety to choose from. Good quality music is rare nowadays and to be spoilt with an awesome line up like this is a treat.

©Tomorrow Never Happened

I set out to achieve three things at Jozifest.

1) Get a long overdue education on dub-step; its music I dig, but constantly get twisted. My ignorance comes to mind, when I once chirpily Tweeted that Spoek Mathambo had some sort of dub-step vibe and being met with a strong disapproving ‘I hate that shit’ response from Spoek. So you can understand just how essential dub-step 101 is.

2) Interview as many bands and get them to say something quirky but secretly stupid for one small seed.

3) To document the weirdest encounters, that so often transpires at music fests.

©Tomorrow Never Happened

First objective, well it kind of happened randomly. I spotted a lonesome tired looking chicky seated on a dilapidated couch in the VIP room. In an attempt to be funny, I quipped to my friend: ‘she looks like she would know a thing or two about dub-step.’ Hang on, so it turns out it’s Dj Sideshow post her crazy set, which I missed but heard some awesome reviews. I had no cooking clue that the figure behind Sideshow is a female. ‘I made it rain’ she says, she is not joking. It had literally started raining. As her set unfolded, the heavens had poured down.

So Dj Sideshow explains that they are different types of dub-step. That much I get. ‘Dub-step is about different levels and raising basslines.’ She says she is more gangster. I laugh, and then revert back to a straight face. She explains that she infuses hip-hop sounds into the bass and reverberant drum patterns that are classically dub-step. It’s quite a deep sound. Another Dj that impressed was Kennedy, who for a moment looked ready to launch himself into the crowd. I have never in my life moved with such imprecision and lack of rhythm, but oh so content with it. Those are the makings of a solid Dj.

©Tomorrow Never Happened

With my all access pass, I really had the freedom to interview any band. But in a frustrating turn, I ended playing an annoying game: ‘hunt-the-band’. Who knew that spotting bands and artists, in a sea of mass produced hipsters of the same ilk would be so hard? aKing, Zebra and Giraffe, Grooverider, Sub-Zero; I have only this to say, ‘where the fuck were you guys?’ Granted I don’t know what half of you folk look like anyway.

Spotted Tamara Dey all chilled out supporting local talent which leads to the begging question: ‘how the hell was Flash Republic not invited to perform?’ Organisers, please note that the flash generation is anticipating a Flash republic appearance next year. I love those guys, but let me rather take this rant to Twitter instead. She whispered in my ear that she is working on a solo project that feeds off her interest in fashion and music. Watch that space.

©Tomorrow Never Happened

I hijacked Paulo and Rui from 340ml just before they were going to go rock on. I ask them what they are about to serve up with their set? ‘Short and powerful’ says Rui. I dig these guys muchly. Paulo was quite chuffed that the Festival has found a new home in Newtown as this place is their ‘first love.’ Did I mention how laid back and cool these guys? Cooler than a Maputo sun downer.

In all honesty, there is no rosy way to say this: shit got real and then hit the fan. Just the way I like it; crazy, more crazy, throw in a bit of debauchery, some cotch on the shoes and you know a music fest has delivered the goods.

©Tomorrow Never Happened

Also managed to have a fleeting moment with Josie Field while chilling with her posie in the VIP lounge. I make fun of the fact that did she get an invite coz her name phonetically resembles Jozi? Ok, lame joke but an ice-breaker nonetheless. In actual fact, we had chatted before but was cool seeing her in her true element; in a live music environment. What we both observe is the diversity on display. There was everything for everyone; dub-step, electro, rock, alternative rock, acoustic sounds and reggae. There were stalls, beer chugging, the distinct boerie on the sizzle, the occasional slip in the gutter. There were all kinds of hipsters, conscious afro dread brothers, the jock, vintage gays, mini-skirt girls and more.

©Tomorrow Never Happened

Words: Saint-Francis Tohlang

Images: Tomorrow Never Happened

UPDATE: Please note changes have been made to this article. The original full-length version has been uploaded. There were some critical errors that have been amended, and we apologize for the misinterpretations made, particularly around the dub-step genre. Big-ups to Steve aka Audiophile for filling us in on the comments he’s been getting.

Thanks for all those who read the piece and have been commenting on it.

#tbt 2009 | FlashBack | Lucky Dube an icon gone too soon | Issue #15

one small seed — Sun, 19 Jul 2009 06:00:06 +0000

It is a testament to the spirit of his life and music that Lucky Dube will be remembered for decades to come for his massive contribution to the world of reggae and how he used its success to become a global mouthpiece for the struggle against Apartheid. Originally published in one small seed magazine, issue 15 ’09. Words by Sebastian Stent.

Even in death, Lucky continues to stand for a potent cause. His brutal murder has become a key motivator in the fight against crime. The lack of humanity shown by its perpetrators has led some to call for the reinstatement of the death penalty to help curb the country’s ridiculously high murder statistics. But this is at odds with the life of Lucky Dube, who throughout his career was a powerful voice of peace, love and understanding. Dube was born in 1964 in the town of Ermelo, Mpumalanga (what was then the Eastern Transvaal). He and his siblings, Patrick and Thandi, were raised single-handedly by their grandmother. Later in life, Lucky described his grandmother as his greatest love – a woman whose many sacrifices led him to grow into the great man he would one day become. Lucky Dube discovered Rastafarianism at school, and at 18 he joined his cousin’s band, The Love Brothers. They played mqabanga, an upbeat brand of Zulu pop, and signed to Richard Siluma’s Teal Records in 1980.

Dube was still at school and funding his ambitions by working as a car auction security guard, and so it is miraculous that despite such a busy lifestyle he was still able to find the time to record an album in Johannesburg. Lucky Dube and the Supersoul released their first album Lengane Ngeyethu in 1981 and over the following five albums Lucky Dube learnt to refine his style and hone his lyrical abilities. However, his ambitions were focussed in a different direction from the mqabanga style with which he was becoming synonymous.

Dube had seen amazing synergy between the ethos of the Jamaican reggae movement and the political issues of Apartheid South Africa.

He had received positive responses from the few reggae songs that he had played live, and so, in 1984, he released a mini solo album called Rastas Never Die. While his mqabanga records were selling well in excess of 30 000 copies an album, Rastas only sold about 4 000 units, and was censored by the Apartheid government in 1985. These hardships would deter lesser men, but Dube saw this as an affirmation of his cause and pursued it all the harder. He was right.

Over the next twenty years, Lucky’s success spanned the globe, with his albums winning a total of five OKTV awards in the late eighties and early nineties. In 1993, his album Victims sold more than a million copies. After signing a recording contract with Motown in 1995, Lucky released his seminal Trinity album, following it up in 1996 with Serious Reggae Business for which he won the ‘Best Selling African Recording Artist’ at the World Music Awards. Dube’s success grew in leaps and bounds over the next ten years, with his next three albums each earning SAMA awards and his final album, Respect, immediately snapped up by Warner Music for its international release. A prolific showman, Dube recorded 22 albums over his 25-year career and was able to cross the cultural boundaries by recording in three of our national languages: Zulu, English and Afrikaans.
Although he toured extensively, performing alongside superstars such as Sinéad O’Connor, Sting and Peter Gabriel, he was a dedicated South African, a proud father, and a stalwart of his local community. Despite being a Rastafarian,

Dube eschewed the Rasta tradition of smoking dope and maintained a health-conscious lifestyle.

However, as is often the case in this time of senseless crime, Dube’s life was cut short by murderers who neither knew who he was, nor cared about the role that he had played in bringing worldwide attention to the plight of South Africa. It was while dropping off two of his children at their uncle’s house in Rossettenville that Lucky Dube was murdered – shot by a gang of five intent on stealing his car.

The outpouring of grief was heard across the world, with the love that was felt for him in South Africa particularly palpable. Lucky was a man who personified the goodness, talent and personal power of all South Africans – that ‘can do’ attitude that sets us apart, the belief in ourselves that allows us to rise up and pursue our dreams, despite enormous adversity and difficult circumstances. His life – and death – are filled with lessons to us all: to trust our instincts, follow our passions, and remember at all times that whatever we have can be taken away in an instant.

Words: Sebastian Stent

Read the rest of issue 15

Open publication – Free publishing – More south africa

Click here to view our #flashBack selection for September.