Image: fanelelove.blogspot.com

Raised in the US but hailing from SA, Lindiwe Suttle is living up to her mother’s fame with her own skills and ambitions. She has an MBA in Entrepreneurship/Marketing, has styled Beyonce and Ciara, and – on top of that – is blessed with a beautiful singing voice. She is also a hard worker with a zest for social justice, and shines a different light on South Africa as opposed to, for example, zef shockers Die Antwoord. Her music career started with performances in small clubs in Cape Town but today she is a celebrity who has just internationally released her debut album. And, recently – to the resentment of some – news leaked that she is the new girlfriend of German music legend Marius Mueller-Westernhagen. Knowing the hurt that this might have caused to Romney Williams, the singer’s wife of 25 years, he told German tabloid Bild am Sonntag that sometimes you can’t help it when ‘the lightning bolt of love’ strikes.

Image: badische-zeitung.de

Image: lindiwesuttle.com

But gossip aside and focus to the music, Kamikaze Art is a world-class album that was recorded and produced by Ivan Georgiev in Berlin but features themes that, although universal, appear closer to home. According to Lindiwe’s website, the album deals with political corruption, the internal struggle between good and bad, temptations of the music industry, bullying, and social justice. ‘I called the album Kamikaze Art because I feel I have given all of myself. I truly believe in the music, each song is deeply personal, open and honest,’ says Lindiwe. Whereas ‘Kamikaze Art’, the first single off the album, is a colourful tune with a hint of reggae and shows off South Africa in its music video, the second single ‘1000 Miles’ is a more soulful song about love. What’s more, some songs off the album have already got the attention of the right people in the industry. ‘Twilight’, for example, won the Grand Prize in Session 1 of the John Lennon songwriting competition and was a semi-finalist in the UK songwriting contest.

So, whatever the hearsay, Lindiwe Suttle is bringing her South African roots and musical knack to foreign shores and, even if some disapprove, has partnered with a German music legend, not only in her private life but also musically. Lindiwe will support her boyfriend on his upcoming album Alphatier and will tour Germany with him as a ‘guest singer’.

Click here to order Kamikaze Art.

Words: Christine Hogg

Intrigued about how Russendisko’s obscure music managed to become trendy among such a broad audience, one small seed hooked up with Yuriy in Berlin. We found out that he took his love for revolutionising music culture further and founded a band, or let’s say a music-making party collective, with a shifting line-up of often more than 10 musicians, who are of different nationalities, speak different languages and integrate different styles of music. This diversity and wealth of influences is, it would seem, hard to combine into something smooth without the surface looking a bit rough. Yet Rotfront’s musical ‘front’ is slick and easy to traverse. Once you’re in, you’ve joined a party of, as Yuriy will explain in this interview, various realms and dimensions.

Image: reeperbahnfestival.com

Russendisko in Xtra Zuerich’06 from RUSSENDISKO on Myspace.

Image: so36.de

How was your band Rotfront formed after launching Russendisko?

Three or four years later we met Simon Wahorn, a guy from Hungary who lived in Berlin, and realised that we were both musicians who didn’t really know anybody. We realised that we both wanted to form a band for quite some time but we didn’t have contacts, or knew someone who was willing to lead this band. So suddenly we realised that we would fit together well and our skills would add up.

At the beginning it was more of a hobby, a fun band, we rarely played any shows. We were a normally more than ten people in the band, including a female choir, and the line-up kept changing, so it was hard to tour.

We were actually a cover band when we started, but then I found out that in Germany a cover band is something completely different to what I thought it was.

A lot of bands play covers so they can earn money, it’s the easy way. But we covered music that nobody knew, that’s why people might have thought we were playing original songs.

What problems did you have starting out as musicians and what sort of role did the music industry how it was back then play a role? How does it compare to today?

We did manage to play bigger festivals without releasing our first record, through live performances and making a name for ourselves. I’m proud of that. It’s difficult because in the last couple of years there are more and more niche markets and it’s hard to say, ‘This is how you do it!’ It could work for one band but ruin another. There is no model for success that works today.

Apparently musicians are quite well off here in Berlin. It’s supposed to be like London in the ‘80s. Everybody wants to come here to do music because rents are cheap and it’s relatively easy to sustain yourself as a musician.

I wasn’t in London in the ‘80s because I needed a visa for London (laughs). Berlin is still relatively cheap compared to some other cities and because of that, but also for other reasons, there are a lot of musicians. If that’s all you need, sustaining yourself and being among musicians, you’ll definitely find this in Berlin. You generally don’t have to pay that much rent and you can get gigs by getting to know lots of people. Musicians that I know, for example, who do music as a profession and play in cover bands four days a week, can be pretty well off if they want. They play at corporate events and get their 200 Euros per show and can live from that. Yet when it comes to more creative things it’s not so easy. Because Berlin is cheap, venues often don’t charge a lot of cover. If you play for a cover charge — which is a quite widely spread model in the club industry — and 20 people come, then you get 70 percent from the door. And that’s a 100 or 200 Euros that you still have to split between band members, which must be pretty tough…

Image: liveberlin.ru

Is that the norm? The band gets 70 percent of the door?

Yes, absolutely. As long as your music doesn’t get played on the radio or TV and you don’t get any GEMA royalties then your income depends on your live performances. I can only speak for myself and the people I know – but I do feel a general bitterness towards today’s music industry.

Is it true that Rotfront is a political band but you don’t sing about politics? What sort of influence do you think that has? Do you want to influence anything at all?

Of course we want to influence something but I don’t want to sound partial when I sing in any way.

It’s so absurd when a band plays to 10 or a 100 people and sings about weighty political topics.

I don’t think that they can really influence anything except for making the person who’s singing feel relevant – it’s all a game. Rotfront is an international band, we pretty much all come from different countries, and can handle each other pretty well. It’s exactly that – politics try to give society certain rules and what we do is try and show what happens if we do things according to our rules. We get along well, socially as well as musically, and that way we are showing that this exchange, this togetherness, can happen smoothly and effortless.

Some topics in our music aren’t addressed directly but they are there. I’m Jewish and I like to play with elements of Jewish culture and music – not in every song and I’m by no means saying that we’re doing Jewish music – that wouldn’t be quite correct – but you’ll come across it at some stage – certainly if you know the band for a bit longer or listen a bit more intensely. I know people who, through Rotfront, came across topics that they wouldn’t have found interesting otherwise. Yet if you try and teach people certain things in a way that is ‘unsexy’ it often doesn’t work.

If you dance to a song like ‘Gay, Gypsy and Jew’ you’re partying with that song but you can also think about its message easily – that’s how you find a ‘smoother path’ to topics that normally might not interest you.

And if you go further you might find more interesting things – there are many dimensions. I do think it’s important to deal with certain topics in songs but in a way that’s not necessarily on the surface but in another dimension of the song. The song also has to work without that dimension though. I don’t want to say this band is so cool because it’s a Jewish band or a political band but it’s something that could be beneath the surface. If the songs work and you enjoy the band and you’re prepared to listen a bit more carefully, you’ll come across it.

Image: vimeo.com

Russendisko goes Greece 2004 from RUSSENDISKO on Myspace.

Image: so36.de

I think the concept of your band would fit really well into a South African context because there are so many different languages and cultures in one country.

Yes I’ve heard that from a lot from people.

I read in an interview that when you were still in the Ukraine it was hard for you to make music because you didn’t have access to the right equipment. In South Africa music equipment is often expensive because it’s imported. Do you have any advice for musicians who can’t afford instruments?

In the last couple of years it’s not a problem anymore. People travel more because it’s become much easier. When I was 13 or 14 and I read about punk rock I found it really funny that people were writing about ‘simple guys from working class families’ who’d ‘just’ set up their guitars and drums and so on in their garage and make music – my family didn’t even have a car (laughs)! So what garage are you talking about? In my case, an old piano might have been the only thing that you maybe found ‘just standing around’. But an electric guitar that you just pick up because it’s there?

Today, hip hop is punk rock because if you don’t have a laptop then I’m sure your neighbour has one!

And then you just need a microphone and maybe the internet to download some things and you’re ready to go. That’s the new language of today and it’s how you do things. I can’t give you an address for cheaper guitars, but you don’t need that nowadays.

Image: pavillon-hannover.de

Image: rotfront.com

With Rotfront but especially with Russendisko you got people interested in music that was not mainstream at all and managed to make it relatively popular. In South Africa radio and TV is monopolised by American music and therefore lots of South Africans are prejudiced about local music. Do you have any ideas on how this could be changed?

In the Ukraine, for example, everything Ukrainian was considered uncool by young people – that was towards the end of the Soviet Republic era when I grew up. And then when the Ukraine became independent there was – I think it was organised by the state – a competition for the best Ukrainian-speaking band. The winner would get their album recorded for free and tour the country. It was about ’91 or ’92. The thing was that Russian was the language of the Soviet Union and Ukrainian was the language of rural people or known from the radio through really boring folk music which was really unsexy. And suddenly through this competition people got the opportunity to become really big and they actually started to translate things!

This was the exact right step for some bands I know that are still active today. Before the competition they were so uninteresting but, through the change of language, they suddenly had an element that other bands didn’t have. That was supported by the government and the band actually developed into something like the Ukrainian Rolling Stones.

With music it’s really important how you present it, you have to try and think of a way to present it interestingly. I don’t have a clue how we managed that with Russendisko – it was definitely cool music and through different elements that were direct as well as indirect people became interested.

The people who came were enjoying themselves instantly but first you have to find a way to get those people to come.

What plans does Rotfront have at the moment?

We’re in the studio at the moment. We started recording our third album this week and I’m very euphoric. We’ve only played a third of the songs live and the other songs are home-produced demo-quality songs that we realised have lots of potential. We’ve only recorded the groundwork so far, like the drums for example, but they already sound so great that I can’t wait to continue recording. Now it’s time for the wind instruments to be recorded. It’s going to be lots of fun.

Interview by Christine Hogg

MORE INFO

Wladimer Kaminer and Yuriy Gurzhy have recently put together a compilation called Die Lieblingslieder der Deutschen Taxifahrer (the favourite songs of German cab drivers) which you can listen to here.

Rotfront is currently recording their third album 13 German Dances. Stay posted to their website for more information.

Dear Reader – ‘Took Them Away’

Cherylin MacNeil successfully brought her South African-bred ‘melodramatic popular song’ project Dear Reader to Germany’s creative capital in 2010. Signed to Berlin-based label City Slang, she has not forgotten her Jozi-roots. On 2013’s Rivonia she takes a look at her home country’s history with a fresh, fervent and harsh eye — which, perhaps, is most competent when it’s gazing from a distance. Rivonia‘s historic slant, immersed in emotionally fused vocals and steady melodies, has of course sparked a desire to be seen live. After mastering a recent performance with grandiosely sinister Get Well Soon at the Berlin Festival, Dear Reader will be embarking on Rivonia Tour Part II in November and visit 13 German cities.

Mr. Sinister Kris – ‘Lonesome Town’

After being a part of the successful Italian rockabilly trio The Boppin Kids, and winning the Heineken Jammin’ Festival with The Horrible Porno Stuntmen, Mr. Sinister Kris left Italy in January, 2012, to chase the dream in Berlin. Once arrived he got involved with various music projects and is now, apart from doing solo stuff, playing with The Boomtown Three and The Offenders. His recent solo undertaking is a cover of Ricky Nelson‘s 1958 hit single ‘Lonesome Town’ which was inspired by his girlfriend’s love of the song. Along with a beautiful video shot by Simone Trotta in Berlin’s Viktoriapark, and sung in a voice that could just be the male equivalent to Janis Joplin‘s raspy serenades, this version becomes a heartfelt reminder of the past.

I Heart Sharks – ‘Neuzeit’

Comprised of ‘one English boy, one German boy and one lost (American) boy’ (facebook.com/iheartsharksmusic), the band’s mixed nationality is increasingly common in Berlin and epitomizes its musical spirit. Their accordingly mixed influences and use of different genres seamlessly work together as postpop, while further extending the ‘influence-pool’ and creating a growing new indie scene in Berlin. Here’s ‘Neuzeit’, a Berlin hit with a German chorus sung in an English accent.

Rotfront – ‘Eyns Tsvey’

Similar to I Heart Sharks, Rotfront is a music collective made up of different genres, nationalities and languages. Active since 2003, and founded by Yuriy Gurzhy, who is also known for being part of the DJ collective Russendisko, Rotfront bring together russian reggae, hungarian garage-rock, ska, klezmer and hip-hop to create a sweat-inducing frenzy they call ‘Emigrantski Raggamuffin’ (immigrant raggamuffin). They often refer to Berlin as the ‘emigrantski republic’, honouring the diversity of nationalities living in the city who fuse culture until it’s a unique feeling that represents the new status quo. Yet since they’re mainly about having fun, the eight-to-sometimes-15 band members are best seen live, but singing along to ‘eyns tsvey dance the night away’ should give you a good idea of what it’s all about.

The Frantic Flintstones – ‘Chasin’ Da Dragon’

Berlin is mainly known for its electronic club scene, but is also home to an unflinching, non-mainstream and 100%-devoted psychobilly scene. The Berlin-based Frantic Flintstones being one of the first to pursue the genre along with The Meteors and Demented Are Go, are a firm part of it. For psychos in Berlin, Wild at Heart and Bassy Cowboy Club are regular hosts of psychobilly bands. Here’s ‘Chasin’ Da Dragon’ from The Frantic Flintstones‘ 2012 album Freaked Out & Psyched Out.

Get Well Soon – ‘Roland, I feel You’

Konstantin Gropper, the man behind Get Well Soon, is called a ‘German Wunderkind’ by NME and has a fervour for doomful melodies. Dedicated to German Hollywood director Roland Emmerich, who Gropper shares a fascination for the end of the world with, ‘Roland, I feel You’ is full of drama, dreams and desperation. And as if the melody wasn’t entrancing enough, it is accompanied by a mesmerizing video directed by Phillip Kaessbohrer — which is, sadly, not a trailer for an upcoming movie, but nonetheless 7:12 minutes of otherworldly pleasure.

Robin Schulz – ‘Eines Tages’

Robin Schulz is not Berlin-based, yet ‘Eines Tages’ could not be a more appropriate example of the city’s sound. While its dreamy electro melody is typical of its tourist-drawing, day-and-night club scene, the song’s original vocals were in fact brought into existence in 1978’s East Berlin by Barbara Thalheim. Listening to ‘Eines Tages’ feels like entering a land of no limits, similar to feeling detached from a boundary-driven reality at a days-long club night in Berlin.

Words by Christine Hogg

Images: rockhall.lu, facebook.com

Influencers (Length: 13:56)

Written and directed by Paul Rojanathara and Davis Johnson, this short documentary explores what it means to be influential and traces the path of trends as they trickle down from opinion shapers into pop culture. With Polaroid snapshots of New York and interviews with the top influencers in New York, this film questions the origin and spread of influence.

Staple (Length: 06:33)

This interview with founder and creative director of Staple Design, Jeff Staple, takes a look at the origins of the New York design studio in 1997. It’s an insightful look at Staple’s design philosophy and inspiration, from the streets of the Lower East Side to mix tapes and streetwear. The interview also takes a look at the processes behind Reed Space, one of the best boutiques in New York, and how it was founded by Jeff Staple quite by accident.

Earth Time-Lapse View from Space (Length: 17:00)

These photographs, taken in a time-lapse view from the international Space Station, explore serene and tranquil views of Earth from outer space. City lights shine through the atmosphere and make the blinking map look alive. The photographs were taken between August and October 2011, and use a special low light 4K camera.

Press Pause Play (Length: 10:54)


Press Pause Play asks whether democratised culture means better art, film and literature or the flooding of mass culture by the digital ocean. Accompanied by an interview with Moby, this is a provocative interrogation of the role of technology in empowering or stifling today’s artists.

Morpho Towers: Two Standing Spirals (Length: 02:40)

Two Standing Spirals is includes twin Ferrofluid sculptures moving synthetically to music. As the sound ebbs and flows, the iron spirals grow rows of spikes radiating upwards. The installation is a sensory marriage to technology and beauty is inescapable as the towers’ pulsate and uneven rhythms ripple across their dense surfaces.

Berlin die Sinfonie der Grobstadt (Length: 09:48)


Shot in black and white, this silent film was made in Berlin in 1927 by Walter Ruttmann. The soundless images are reminiscent of the Kino-Eye film style as they cut quickly back and forth, seemingly disjointed until the train pans past the camera. A sleeping Berlin is unmasked and slowly begins its daily routine. Berlin takes the audience back to a time in film history before colour and sound could distract the senses.

Imaginary Landscapes (Length: 40:00)

This four-part documentary on Brian Eno showcases the patron saint of ambient music with in-depth interviews and a close look at his music and life. Imaginary Landscapes peeks into the inspiration behind his imaginary landscapes of images and music is a 40-minute exploration of a modern artist at the cutting edge of the ambient music scene. It was made in 1989 and directed by Duncan Ward and Gabriella Cardazzo.

Roxy Music with Brian Eno, Andy Mackay, Bryan Ferry, Paul Thompson, Phil Manzanera

Click HERE to read the full breakdown of issue 24!

In much the same way Da Vinci’s inventions were ahead of their time, Red Bull is creating a sound system so advanced it makes current sound rigs look like tapedecks. The Red Bull Music Academy World Tour kicks off in Cape Town with a three day event that we don’t want you to miss. Read on to find out how you can win a double ticket to the three-day event courtesy of one small seed and Red Bull.

Between August 29 and September 1st Cape Town will host the visionaries behind the world-famous Valve Sound System (UK), Dillinja and K-aze along with SIAN, DJ and founder of Octopus recordings (UK) and some of South Africa’s most prolific crews, DJs, promoters, producers and creative collectives. What is being done is the construction of a massive sound system that will travel to some of South Africa’s largest musical events as a tribute to the nucleus of club culture. When completed, the collaborative construction of the world-class system will be capped off by a three-day festival of sound. Taking place at The Assembly in Cape Town, September 1-3, it will feature a full spectrum of electronic music where all participating local crews will have the opportunity to perform on the newly built system alongside world-renowned selectors.

Dillinja – hard noize

Having pioneered the first filtering drum system and creating unique Amen breakbeats, Dillinja and K-aze are versatile producers and mix masters who, since the 1990s, have been lauded as versatile producers and mix masters. Fellow Briton SIAN throws down his own hypnotic take on techno with his avant-garde approach and trademark experimental DJ-ing style.  With a list of 26 talented and respected DJs throwing their hats into the ring, it’s almost guaranteed the event will blow everything else out the water.

Lemon D vs Aphex Twin – Manhattanannou

With the Red Bull Music Academy World Tour hitting over ten major cities all over the world including Berlin, Paris, Detroit, Melbourne, Rome, San Paulo and London kicking it off from Cape Town is a great hour we’re sure the city is happy to accept. Each stop will delve into unique elements of the Red Bull Music Academy experience, bringing together influential musicians from various corners of the world across different eras of music to pay tribute to the pioneering sounds that paved the way for today’s deepest funk and hip hop.

So be at The Assembly from the 1st to the 3rd of September to show your support and pride in Cape Town’s own vibrant and definitely celebrated club culture. For your chance to win a double ticket to the THREE-day event courtesy of one small seed and Red Bull rack your brain a bit, do a bit of research HERE, leave a comment below answering the following questions and tell us why you want to go. Winners will be announced on Tuesday 30th August.

1. What is the name of the Soundsystem that Dillinja and Lemon D built?
2. Name one of the famous Soundsystems owned by eccentric DJs during the early days of Jamaican Soundsystem culture.
3. Where would you like to hear the Red Bull Studio Signal Control Soundsystem aside from the Assembly next week? (Choose any party / venue. Who knows the Soundsystem might make its way there one day).