Making use of our digital magazine features, we have been able to breathe new life to previous print content – and everything has truly come together, just how we always envisioned! Please take your time to go through this magazine (all at once or a little bit each day) as a lot of work went into producing every edition and every page, since we first launched in 2005. This issue is a superlative balance of content, comprising of traditional and contemporary art, photography, fashion editorials, exclusive interviews, videos, feature articles, music, and the best of one small seed TV.
 
So, without further ado…
 

 
Follow us on:

Facebook
Twitter: @onesmallseedSA
onesmallseed.net

Image:Sarah De Burgh

First off, how often do you visit Africa?
Every other year or so for six months to a year at a time.

Alright, so what’s coming next for Gold Coast Trading?
A lot of growing and maturing…I have some lectures and exhibitions coming up in Germany and France, which is exciting for me because it’s a sign that Gold Coast is much more than fashion but a creative space or statement that people are interested in. I also want to expand more into South Africa, Nigeria, Kenya and Ghana so the brand’s touchstone stays close to what I’m doing. As for new designs, I’m working with Petite Noir on a collab that should be out in the next month or so – really excited about him and his music! I’m also involved with some new large partnerships that will expand the scope of the work I want to create.

And, in your words, what’s the overriding mission of your brand?
Be creative, be inspired and stay true to the message of the brand, which is to explore or handle Africa in a less expected way.

Could you define Africa in Gold Coast Trading’s words?

Abundance of truth and beauty. A hazy view of how things could, should or can be.

How would you describe Gold Coast Trading’s clothing style?
It’s always evolving and it’s something I’m trying to define myself actually. It’s becoming less straight-up casual but more functional ‘high-end’ casual. As you can see I’m still working on it but the main thing for me is to give the brand as much space for growth as possible. So along the way I can do many different styles or types of clothing, furniture or whatever else I want to create at the time. I’m not really a fashion guy, I kind of still dress like I’m going to lay brick or tile…but I know what looks appropriate, I have good taste and I also know to never limit your vision.

Image:Bo Streeter

So tell us about the ‘Winds from the North’ collection. What inspired you?
Harmattan, which is the dusty West African trade wind that blows south from the Sahara into the Gulf of Guinea between the end of November and the middle of March. The colours in that collection are faded and dulled to reflect the atmosphere and mood of that unique season in West Africa.

Do the prints you use have a certain meaning for you? (Do they represent Africa?)
To me they represent emotional responses. I don’t think I intend for them to be strictly representational of Africa and I don’t think they always are. But instead they represent a train of thought that is usually inspired by – but not limited to – my time back home in Africa.

Images:Bo Streeter

Let’s get to some more complicated stuff. What do you think Africa would have been like if it hadn’t been for the slave trade?
Wow…that’s a tough question…
In many ways the same and in many ways drastically different, which I think is okay. Obviously many of the issues that serve as the major stumbling blocks in Africa, like exploration of natural resources, corruption and general conflict would be dramatically different. Africa isn’t and was never meant to be perfect. So, like on every other landmass around the world, the same basic problems would exist due to pure imperfection but at least a measure of the suffering that touches Africa on a daily basis would not exist.

“Africa isn’t and was never meant to be perfect.”

Where would you like to see Africa socially, politically and economically in 20 years?
I would love to see Africa keep up with its growth, move into more ownership and evolve into its fullest potential, but the ones who make our planet’s policies are doing a good job of dimming the prospect of positive change in this world in general. So, I feel it could get worse before it gets better due to the system we currently live under. I feel we have so much in place to distract us from the ‘more important things’, we fail to see how far we are drifting in the wrong direction. With all that being said, I live and breathe hope! There is good news all around us and hopefully some day, sooner than later, we will see the change we have been looking for – not just in Africa but on a global scale.

“the ones who make our planet’s policies are doing a good job of dimming the prospect of positive change in this world in general.”

And Africa in 200 years?
Even more beautiful! I think it will be bursting at the seams with accurate knowledge and love – a place where people come to innovate and enjoy.

What African artists do you admire the most?
Laurence Chauvin Buthaud, , Petite Noir, Spoek Mathambo, Esau Mwamwaya and Loza Maléombho to name a few.

Which artists did you collaborate with last? What was it about?
I recently worked with The Very Best for Capsule Collection and I also served as their tour merchandise. I also worked with Questlove for the Fela Kuti dedication album and I’m currently working on some select designs for Nas. And like I mentioned, I’m finishing a cool piece for a collab with Petite Noir and have two major ones on deck.

What countries in Africa do you owe your best memories to?
Ivory coast for sure! Though I’m Nigerian, it was my gateway back home and where I spent the most time by far. I’ve seen everything there from wars to pristine white sandy beaches, seeing all of that trained and shaped who I am and who I’m becoming. Living in Ghana also meant a lot to me because I learned a lot about myself and what I really want in this life.

How do you feel about so many Africans dreaming of emigrating to the west?
I get it for sure but it’s not all what it’s cracked up to be. The streets aren’t paved with gold and in most cases you can end up physically as well as spiritually cold and alone. It’s the nature of life in the west, it’s a singular lifestyle. People are running after money or a name and within that chase, community or people don’t matter. So come if you want to do what you need to do and then go back home and grow it there.

On another note, how did you get into fashion?
I don’t know honestly, it was never a goal of mine. It just all kind of started from designing, album art for some popular musicians and then it sort of morphed into what I do today.

And what made you do the Soweto Youth 1976 line?
It was a two fold thing. Firstly, out of the respect I had for people like the BLK JKS and Spoek Mathambo who showed me a ton of love and support but also sparked me creatively! Secondly, out of respect of the event and the sacrifice that fell on those ones to effect a large change.

Images:kyle Johnson

“All my dudes from South Africa always seem to look effortlessly stylish”

What do you think of South Africa and its fashion? How does it compare to the rest of Africa’s and the rest of the world’s fashion?
All my dudes from South Africa always seem to look effortlessly stylish and dress pretty much how I want my end product to be worn. South Africa also seems to be a melting pot of fashion sprinkled with a bit of traditional or cultural sensibility. That makes a look that is in step with what I’m doing. For the past few seasons South Africa has been my fashion reference point, so I’m very excited and eager to expand here further this coming year.

Image:Bo Streeter

Interview by John Norman, 2012

Interview with Spoek Mathambo from one small seed on Vimeo.
 

Watch the trailer for the documentary “Future Sound of Mzansi” – Apartheid’s Electro Afterparty
 

Listen to the sound of FANTASMA

Spoek at CT World Music Festival, image: Loyiso Mzamane

Spoek, Eagle Awards, image: Loucas Polydorou

Spoek at CT World Music Festival, image: Loyiso Mzamane

Sonar 2014 – Image: mixtopia.ro

Sónar Barcelona

Constantly on the pulse of the current electronic music landscape, the festival offers a wide variety of balanced cultural entertainment and is thus divided into two main locations: the recently premiered Sónar by Day, located in Fira Montjuïc with concerts, DJs and showcases. The recently added Sónar+D area — which is about discovering and tracking new talent and enhancing professional activities — will also be part of Sónar by Day. And, of course, there’s Sónar by Night in Fira Gran Via de L’Hospitalet where the main action will go down with some of the biggest names known to the international music scene. Click here to view the full line-up.

New: Sónar+D

Launched in 2013, Sónar+D aims to unite creativity, technology, mobility, innovation and business in a transparent and accessible manner. Through bringing together experts from all over the world, the event’s goal is to shape future creative experiences (technologists, entrepreneurs, artists, companies and researchers) in the area of music, image, interactive content, and transmedia platforms. There will be conferences, workshops, an exhibition featuring 80 projects in the MarketLab and AppCafé areas including demos and product presentations, a networking area as well as Sónar Cinema designed for performances.

Among the 100 companies present will be Kickstarter (USA), Fabrica (IT), the Design Fictions group from the prestigious MIT Media Lab (USA), Universal Everything (UK), Sedition (UK), CANADA (BCN) and littleBits (USA). But most importantly, Sónar+D exclusively presents the European premiere of ‘CLOUDS’ an interactive documentary that predicts the future of cinema for Oculus Rift, as well as the world premiere of cult instrument and music controller Oval, a digital alternative to Hang. Click here for more info on Sónar+D.

New: Sónar Cape Town

As Cape Town has recently acquired World Design Capital 2014 status, it seems suitable for the city to host their own version of Spain’s most prestigious arts and culture festival. Award-winning agency Seed Experiences will bring the festival to South Africa annually, with the inaugural event planned for 16 December 2014 at the iconic Good Hope Centre in Cape Town. With top electronic local acts and two international big names as headliners, the SA installment promises to be on par with its international counterparts in Barcelona, Tokyo, Reykjavik and Mexico. Follow Sónar Cape Town on Facebook for further updates.

Lykke-Li – Image: billboard.com

Massive Attack – Image: oncetv-ipn.net

Woodkid – Image: purplesneakers.com.au

Spoek Mathambo – Image: thestarvedblog.co.za

Old Money, image: Lichiban

oss: How are things going that side?
A.J: Quite well. Can’t complain at all. I mean, we could, but you’ve got your own problems don’t you?

How’s NYC?
The same as it’s ever been. Beautiful and ugly. ‘Life In Marvelous Times’ by Mos Def pretty much captures my feelings on it at the moment.

How do you find the current state of hip-hop?
I don’t follow hip-hop too closely these days. And by these days I mean past several years. Most of what I listen to has no words or words that ain’t English. From what I glean though, it’s vibrant. It’s evolving. I think what I’d like to see though, beyond new faces and new clothes and new types of beats getting out there, is also some more progressive representation in terms of attitudes/lifestyle/etc. ‘Hot new artists X Y and Z’ are cool and might have the hot streetwear shit but if a dude got the same mind state as his predecessors then that doesn’t bode well for women, gay people, poor people and so on…

Ahmad Julian aka Scheme, image: Olivia Seally

Do you feel it’s an interesting moment to be in the music industry?
Yeah…. now there’s no model on how to ‘make it.’ Though to be frank, we stopped giving a shit about that in the traditional sense a while ago. Anyway, it’s interesting because there’s more people than ever (or so it feels/seems) making music.

But the machine as we once knew it is pretty much dead.

So, what’s behind the name OLD MONEY
We thought about what we weren’t (wealthy white people in America) and just went with that. We’re thinking about changing our name to CRIME though, it gets more to the point of how old money muhfuckas got their shit anyway.

Moozlim Oils Sage - Behind-The-Scenes, image: MEGA.DOPE.POP

 
You have such a unique blend of influences, tell us a bit about the mix you put together for VANE.
That’s really what it was about – showing some of our influences and the connectedness of the communities where this music is coming from – and also connecting it to the past. If we really went in though, like for real for real, that shit woulda’ been 12 hours long.

Why do you feel it important to ‘stretch the limits of new age music’?
It’s really just about keeping ourselves entertained at this point. Andre and I have been making music together for a while now. So one year, we might wanna rap our asses off. The next, we’re making punk tracks that you might not ever hear. And the next, only recording chants over soca and hopping around on stage.

You’ve mentioned Spoek Mathambo, are there any other SA artists that you guys are listening to/spreading the word about?

DJ Spoko‘s shit is dope. I’ve only heard a couple joints but would love to hear more. Dirty Paraffin. DJ Mujava. Culoe De Song. A few others.

Any comment on Die Antwoord?
Not really.

 

 
Tell us a bit about the Visitors mix that debuted on The New Inquiry.
We, along with Lamin Fofana, didn’t feel like doing some trendy shit. We thought it would be more interesting to get to the root of the forms we fuck with today. For those that don’t know, a lot of the approach and production techniques used in dub reggae decades ago is where a lot of the experimentation in modern electronic music comes from. Thematically, we also felt it was fitting given the cosmic vibe of a lot of the records we were drawn to – and our whole shit is like real life black science fiction anyway. Hence ‘Visitors’.

Any plans to visit here in the future?
Book us and we’ll be in there like swimwear.

Do you go back to Jamaica often?
I’ve been back a couple of times in the past few years after a long stretch of not going. No offence to mi bredren, but I’m trying to see some new shit.

Any gigs/festivals coming up that you’ve been amped about for a while?
We just played a benefit for Hurricane Sandy victims that was thrown by our friend Va$htie. ‘Amped about for a while’ might not be the right description, since the whole thing came together just a couple of days before, but it went really well and it was really nice of her to have us be a part of it.

Our dream is for all parties to have some sort of social component.

Other than that – we have a record that just came out with the homie Lamin Fofana – so expect us to hit a few spots on the east coast of the US in the coming weeks/months. SXSW and some international things on the horizon for next year.

 

 
Your music video for ‘DC1A-+- Gamma Rayz (snippet)‘ presented some interesting views on humanity and philosophy while diving into Egypt’s history. Elaborate a little for us.
Well it all, more or less, stems from the fact that niggas is the OG E.T.s (original extra-terra-astrals). Sun-Ra said that ‘if you find Earth boring / just the same old, same thing / come on sign up with Outer Spaceways Incorporated.‘

I love that song, but if I could amend it I’d make it say ‘if you find Earth fucking intolerable’, because that’s what it’s been like for people of colour. Particularly poor ones. So it shouldn’t be no surprise that niggas stay looking back. Looking forward. And looking up. Because if we look around, we’ll go crazy. Everyday lunacy being accepted as the norm is enough to drive a good-hearted individual mad. And we’re barely holding it together over here.

Andre Oswald, image: by MEGA.DOPE.POP

Old Money, image: Lichiban

In creating your diaspora music, what’s one thing you always try to do?
Make something that’ll stand up to our own critiques.

How have you been received by your local audiences?
It varies. Sometimes it’s all love. Like, some people seem genuinely refreshed to see/hear us. Sometimes it’s ‘what the fuck?’

What do you guys do when you are not making music?
Read. Currently Bloodchild & Other Stories by Octavia Butler. Live. Watch some shit on Netflix. Kick it with dope individuals that inspire us. Shouts to ALIEN!

Any views on the whole ‘Mayan’ thing?
If I’m supposed to be scared, I’m not.

Beat-wise, what can we expect in 2013?
Evolution from Old Money. The New Black Mythology.

Old Money, image: Lichiban

Lastly, any chance of giving us a little rhyme?
Fantastic phantasm
Wanted for a lab experiment by NASA
Extract the data, coat the space capsules
Shield from the UV Rays that’s coming at ‘em.

Breaking atoms, since Adam’s rib, smashin’
Black magic, speed through the space fabric
…leave a demon choked
And fleeing for horizons receding on approach.

Bankhead (WAV file) bouncin’
Douse ‘em with flames like he Dhalsim
I’m like a hunned thousand pounds of 24 carat piled in
Draped in cowskin the color of fresh scallion.

Flames hopskotch in my veins.
Blood made from molten gold chains.
Conductor of a high vibration.
Charles Darwin didn’t die…I ate him.

…Survival of the what
I’m ridin’ on a comet, kamikaze, nigga what
Who could I be? Prolly starbody
Blue navi, annunaki, make you spill ya lil’ mochafrappalatte.

Who could I be? Prolly starbody
Over Hoover’s dead body, put my dick where his eye be.
(Then) teleport to a project lobby
Free minds, now he got the FBI tryin’ to find him.

taken from Chants – ‘Night After Night’ (Old Money Remix)

Some links!!!

Check out OLD MONEY’s SoundCloud, music videos & Blog. The single – Ethiopia b/w Nāga by Old Money & Lamin Fofana – is available now on iTunes and bandcamp. And Keep track of what are up to by following them on Twitter!
 

Old Money & Lamin Fofana, image: Olivia Seally

 
images: OLD MONEY, Lichiban, Olivia Seally, MEGA.DOPE.POP

I wanted to celebrate exciting modern women – the strength of it, the fun of it, the flavour of it (Mathambo)

Featured on the musician, rapper and producer’s recent mixtape, Escape from ‘85, Awufuni is Mathambo’s take on the song of the same name by an old school South African girl group from the 60s, Izintombi Zesi Manje Manje (‘Women of the now’).

‘A group of five girls form a futuristic gang, in a surreal way,’ says Becatti of the core creative concept of the video.

‘There’s a main storyline where Spoek is on a date with this girl and she leads him into this scrapyard. He eventually tries to escape but she chases him and the girls then tie him up and perform this ritualistic dance around him.’

In creating the storyboard, Becatti added his vision to Spoek’s inspiration for the video. The two had been looking for an opportunity to work together since meeting earlier in 2013. ‘When the Diesel+EDUN’s Studio Africa project came along, Spoek and I knew the perfect opportunity had presented itself,’ comments Becatti.

Creating Awufuni was a multinational effort that was spearheaded by VICE Magazine on behalf of Diesel+EDUN. Edun, a clothing label founded by Bono’s wife, Ali Hewson, has worked with Diesel on a two-season clothing collection with the most recent one being a 35-piece denim focused collection entirely manufactured in Africa with CCI cotton from Uganda.

The video’s cross-continental creative collaboration stretched from Italy (Diesel) to London (Vice), New York (Edun), Sweden (where Mathambo lives) and Johannesburg, where Becatti and Picture Tree are located.

Shot in a scrapyard in the south of Johannnesburg, Awufuni showcases some amazing South Africa talent, including four professional dancers – Robyn Brophy, Melissa Flerangile, Sne Mbatha and Tebogo Ribane. Street casting in Soweto also unearthed a major new talent in schoolgirl, Amanda Magi who plays the main girl gang member and ‘cat lady’.

Mathambo on Magi’s performance in the video:

‘She has something about her – an electricity. I’m excited for her to get her chance to do what she does best’

The Becatti-helmed Awufuni is part of the second season of Diesel and Edun’s Studio Africa. The Autumn/Winter 2013 initiative sees Studio Africa champion three African musicians – Spoek, Faarrow and Olugbuenga.

Behind-the-scenes video:

On a technical note.

The DOP on Awufuni was David Pienaar and the video was shot mostly on Steadicam (Chris Vermaak) to minimize time between set-ups. The use of the Steadicam also allowed for quick dynamic movements, and equally quick changes as the camera is rolling. ‘Because there were so many set-ups to be nailed in a 12-hour period, this seemed the most logical choice,’ comments Becatti. The shoot day was on the second shortest day of the year in terms of daylight hours, and so it was exceptionally challenging to pull of, and the time constraints were very tight.’ The video was shot on RED Epic, using Cooke S4 mini’s, the Allura Zoom lens, and for the super wide shots, the Nikkor 8mm Fish-eye. The choice was made to shoot in 1:2.39 aspect ratio for its cinematic qualities, given the narrative aspect.

Crew members included:

Director Fausto Becatti
Art Director Adi Koen
Make-up Amy Anstey
Wardrobe Samantha Constable
Producer Scott Njumbuxa
Executive Producer Gary King
Title Design Caryn Oberholzer
Sound Design Freqncy (Nathi Luthango & Motsi Tekateka
Edit & Grade Warwick Allan @ Mushroom Media

Spoek and Fausto

Relevant Links:

http://www.studioafrica.tumblr.com
http://www.diesel.com/diesel+edun
https://twitter.com/studio_africa
http://www.spoekmathambo.com/

Interview with Spoek Mathambo from one small seed on Vimeo

Multiple talent Herbie Hancock — American pianist, keyboardist, bandleader and composer — also influenced the development of turntablism. 1983’s spacey sounding ‘Rockit’ is the first recognized popular single to feature scratching and other turntablist techniques by DJ Grand Mixer DXT. Written by Hancock, bass guitarist Bill Laswell and synthesizer/drum machine programmer Michael Beinhorn, this song is part of the groundwork for the DJ culture to follow soon afterwards.
 
 
 
Spoek Mathambo – ‘She’s Lost Control’

The 1979 Joy Division song focusing — according to Wikipedia — on Peter Hook’s ‘cool, droning, minimalist bassline formed over a methodical and mechanistic drum beat’ is inventive in its original post-punk version, yet visionary Spoek Mathambo manages to take its initial finesse even further and turns it into a tech-driven apocalypse dance.
 
 
 
Stevie Wonder – ‘Pastime Paradise’

Child prodigy Stevie Wonder adds to the list of early innovation with ‘Pastime Paradise’ — a breathtakingly beautiful anthem of insight. It is also known to be the first song to use a synthesizer to sound like a full string section and has been covered and sampled by many acclaimed artists, the most famous being West Coast rapper Coolio with the 1995 Grammy-winning smash hit ‘Gangsta’s Paradise’. Let’s start living our lives, living for the future paradise!
 
 
 
George Clinton – ‘Atomic Dog’

This funky future-inspiring tune was the p-funk collective’s last to reach number one on the US r&b chart yet failed to reach the Top 100 of the Pop Chart at all. Over the last two decades it has, however, gained greater popularity due to samples of the song appearing in rap songs. Give it a listen, you’ll recognize at least one or two familiar songs.
 
 
 
4hero featuring Ursula Rucker – ‘Loveless’

This 1998 release showcases the true 4hero sound with its blend of spiritualism, environmentalism, talk about astrology and extraterrestrial life forms and rhythms that sway through jazz all the way towards breakbeat hardcore.
 
 
 
Sun Ra – ‘Space Is The Place’

Believing he was of the ‘Angel Race’ and originally born on Saturn, Sun Ra was a pioneer in many regards. From a famed career as a jazz composer and synthesizer player to his work as a poet and philosopher he is recognized for his eclectic and unorthodox music and lifestyle. ‘Space Is The Place’ originally was an 82-minute science fiction film that depicts Sun Ra as a leader who decides to settle African Americans on a new planet before Earth is destroyed.
 
 
 
MF Doom – ‘Doomsday’

An example of a musician who has taken afrofuturistic elements and put their own contemporary twist on it. An English born hip-hop artist who favors soulful beats and lyrics that twist together dreams and harsh realities. Doom’s physical appearance is extremely rooted in the extraterrestrial; he is not seen without his metal mask that is styled after the comic villain Doctor Doom.

Words by Christine Hogg and Emma Remington

Image: Thanda Kunene

Image: Thanda Kunene

Tell us a little bit about how you got into fashion and what attracted you to this art form?
First and foremost I believe artists are born as opposed to ‘created’. However, a couple of early influences that helped me find my path were that my father modeled in his earlier days; it’s hard to believe, but he was a clothing model. My mother has to be the highlight as she used to buy and sell clothes locally in the hood and she had a very intricate sense of style. My hood – Umlazi, Durban – had a lot of influence. Still solemnly, there is no other set place in this country that possesses such a vast range of style; most of the looks I wear personally and my inspirations are based on this township.

How did your brand, Tempracha, come about and why did you pick that name?
The name was coined about six years ago during my early days in the industry. My partner and I started out with wanting a name that related to Durban, so the name alludes to Durban being known as the sunny city. Not the best of concepts, but for me it speaks a lot. And when my partner and I went separate ways I chose to stick with it, not knowing that in the later stages of my life it would become such a workable concept brand.

Let’s speak a little bit about your creative process, how do you go from a concept or an idea in your mind to a complete piece of work?
I’m very flexible with my creative process, meaning I let my ideas run with me. I don’t have a set model or method to creating any pieces. Ideas come to me in many different ways, be it dreams or impulsive inspiration from a piece of material or be it something I saw downtown; I am a very observant person and have a photographic memory, so I never know what my eye captures half the time.

Image: Thanda Kunene

Your clothes have a very offbeat feel to them, I want to ask how much of your work is conceptual and how much of it is organic?
What I do is never calculated or conceptualized half the time, most of my work springs from what’s in front of me that very minute. Offbeat? I do not know about that, but I can say that whatever ‘they’ consider offbeat now becomes the tune of the day later.

You have styled some of Spoek Mathambo’s videos, such as ‘Let Them Talk’, tell us a bit about that and how it came about?
Spoek and I met through a recommendation but we had met before in a studio in Joburg – he was in the process of recording a track with a close friend Smiso Zwane for his debut album. For me, doing the project wouldn’t have been possible if Spoek wasn’t willing to give this young soul a chance – GOD bless him for that. The collaboration was written in the stars, however, in the sense that he is to South Africa’s new-school music scene what Tempracha has directed its sails to being in SA’s new-school fashion scene: a breath of fresh air.

How difficult is it to plan something for someone that is already a brand like Spoek?
As with any work of art it’s important to put your heart into what you do. However, because Spoek is such a big ‘brand’ there was more focus on efficiency and considering I had two weeks to put the project together there were also strenuous time constraints. It was very concept-focused and ‘to the book’, which (as I mentioned above) is a method of work I’m still grasping.

Image: Thanda Kunene

Tell us a bit about what inspires your ranges?
I’m trying very hard to infuse a local flavour to western trends and cooking up something we too can label as local, not really drifting away from what we used to, but seal a South African stamp to it.

One of the things that I get from communicating with you is that you are against this idea of vintage – why is that?
It’s not necessarily the idea of vintage that I’m against, I make my own clothes but I still ‘thrift’ till today. It’s the steady growth of mass fashion at the expense of individual style that I am opposed to. This obsession with vintage fashion causes the industry to stagnate from an innovative point of view. As far as I can remember we hunted to create or finish off looks we couldn’t afford or get our hands on, and, more so, create looks without necessarily looking like you stepped out of a time machine.

What advice would you give to people that are still trying to find their own style?
Use your sources, but conceal them well – that’s basically originality in a nut shell and don’t be afraid to experiment and life is not a rat race but a journey.

Image: Thanda Kunene

South Africa has a very strong style tradition, what relevance do you think fashion has as an art form to South African youth today?
Fashion is instrumental in deciding and documenting the lifestyles and direction of the youth of today. From bell bottoms, to Dickies, All Stars and fitted caps. The connotations that come with certain trends in our country’s fashion help shape the youth.

What are some of your future plans and initiatives that you are working on?
Got a couple of colabs coming up, I’m not going to say much but stay glued to www.tempracha.com.

Interview by Sihle Mthembu
Images by Thanda Kunene

spoek mathambo - father creeper

Pomrad - Vlotjes

flying lotus - until the quiet comes

we sink - marooned

Giraffage

maths time joy - lightyears

Maths Time Joy – Lightyears feat. Thai Matic
This EP will blow your mind. The ttle track, Lightyears featuring Thai Matic is the perfect intro, showing off some amazing vocals with tiny little details that come together incredibly beautifully. You’ll thank us later. Remember, you heard it here first!

 
 
 
 
 

Yeasayer- FragrantWorld

oby-nine - weightless

quadron - average fruit (iamnobodi remix)

Quadron – Average Fruit (Iamnobodi Remix)
A sexy track if there ever was one, German producer Iamnobodi dropped this uber-bounce-worthy retake on one of Quaron’s gems. Chock-full of attitude, we like it louder, most definitely!

 
 
 
 
 
Compiled by Shiba Melissa Mazaza

Happening on the 20th of July at the wonderful Fugard Theatre, On The Boil is an attempt to showcase emerging talent. By all accounts the talent involved with these films speak for themselves already. The night is an experience not to be missed, attended by time-travelling Be Phat Motel, exciting new director Karlind Govender, critically acclaimed photographer Dale Yudelman, Cannes Film Festival darlings Pieter Hugo and Michael Cleary, industry veteran Garrreth Bird and the hypnotically macabre Black Milk Productions. With no entrance fee, the night is sure to have immense value (there will be an opportunity to donate what you think the night was worth).

Many South African filmmakers have no platform to get their films out to you when all they want is to entertain and awe. This is the challenge Karlind Govender and Garrreth Bird found themselves in with their respective films. They got together and decided to make it an event, inviting tip top talent to showcase their productions all together. Two heads are better than one and the theory is no different with six wholly unique films.  Did we mention there is no entrance fee, but you may pay what you feel the night was worth to you.

Enough chat, you must be wondering what you can expect on the night, let me try to tempt you with the following:

Hive by Garrreth Bird
If human nature were a hive, what would our queen be? The idea behind Hive is to challenge the viewer’s perspective on history and what can be learned from the “lesser” order species.

Control by Pieter Hugo and Michael Cleary
Spoek Mathambo is an artist always on the move and in this his cover of Joy Division’s “Shes Lost Control.” With numerous awards, this should be well worth a watch.

Witness by Dale Yudelman
The collective imagination of many is a powerful thing, come see that in action when a burnt out car is discovered just off Long Street.

Anatoemy by Karlind Govender
Karlind’s debut film “Hits the bent nail on the head” says VICE magazine. Promising to be off the wall and absurd, an impression is guaranteed.

Sweetheart by Be Phat Motel
Brought to you courtesy of a time machine, Sweetheart will thrill you with its amazing production value and its vision of our future from the past.

Jornada Del Muerto by BlackMilk Productions
A grim love story that challenges your perspective of death, war and destruction, the film is sure to linger in your mind long after you’ve left your seats.

All in all, One The Boil looks like an exciting night out with the promise of enthralling and enlightening it’s guests. Be sure not to miss it.