Robben Island diaries, 2007

Matchboxed

Art shall live anywhere: A display at Prestwhich Memorial, cnr Somerset Road and Buitengracht Street, Cape Town

Full cycle tree by Kommetjie Environmental Action Group

Wind tree by  Felix & Manus Holm - Beading by Derrick Senteni

Kalahari Surfers' One Party State

The composition in Kalahari Surfers’ new offering, “One Party State”, is a combination of sonic sounds and verse. Warrick Sony, the brainchild of the project, is on production once again while Lesego Rampolokeng covers the music with vocals on at least four tracks.
”My blackness cuts up the light; the light cuts up my blackness. The light descends and strikes; to the heart of the night...,” Lesego says resonantly in the first song, “Blackness and light”, while the rhythm relentlessly unfolds revealing new terrains reached. It is the type that is characterised by ambient sound and unintelligible chants. The entire music is a dub-step-influenced outcome that still bears Warrick’s distinctive signature of yesteryears, when the project was initiated in the 80’s. Like with his work of the of that era, which resulted in Kalahari Surfers as an identity and consciousness to be banned by the previous regime, the music in the new project is still a ‘scathing’ annotation tool that Warrick uses to reflect the current state of affairs. The track-listing gravitates one’s preconception of this notion towards the end that spells ‘South Africa’ in bold font, as the main focus of this project.
Tracks like “One party state”, “Youth League” and "Play around with the buttons” appear to be related so much to the circumstances of South Africa in recent history.  One would have to be in touch with these recent events to have mental pictures of Warrick’s concerns in this album. The tone of the album in the pace and type of sound it bears also cautions of this element of lament, which is of a volatile temperance. The mood becomes clearer as songs stem out from the weaves of the melody and lyrics to bloom into unmistakable petals.

In yet another collaborative effort, the project sees the appearance of the long time collaborator, Lesego Rampolokeng who appears in “Blackness and light”, “Child solider” and “Minority report”. The late Bra’ Allan Kwela is featured on “relax”, while Sarah Jane Mary Hills delivers graceful vocals in an elegantly done, “Frontiers of Madness”.
“Good people have gone; criminal have rights…,” Sarah sings of the status quo on crime in the song.

In this new album, Kalahari Surfers treads where many have either forgotten to go back to and speak for the masses, or galvanise a thought process that may ignite a need for some issues of the current conditions to be scrutinised further. The political landscape has changed only to become a reflection of the past, decorated with words associated with the new dispensation. Even the so-called independent institutions in the judiciary seem not to be succeeding with its many statutes that don’t necessarily result into any form of justice rendered to the people. Thus in the track, “In transition”, located on the fourteenth spot of the CD, Lesego says the following, sombrely:
“We spin in circles of terror in the nightmare of judgement; where the mirror of the present shows the error of the past…” But again, a lot has changed, even the Media.

The pulse in “One party state” beats with relentlessness and vigour, while at the same time striding on futuristic elements of music. The sound seems to widen itself on this album, making use of a great deal of sound effects like in the tracks, “Gathering data”, “Straight to the hips” and “Relax”. The music makes for an easy listening as it grows further on, but not too easy to conceal its advancement in the infusion of the newer sound; it plays on inviting an active listening encouraged by its reverberation.

The 'sonic' experience ends off with the song, “Play around with the buttons (Eskom and SABC)”, which reflects the voices two broadcasters trying to revive the lost transmission that they need to be hassle-free, when the live crossover to Nelson Mandela who will be giving speech happens, which seems not to be ‘audible enough’ as one of them says in their dialogue. Between the broadcasters voice and transmission sounds, there’s a voice-over that keeps on uttering: ‘Eskom’, which is a possible mockery of the state of affairs once experienced at the state power utility and the broadcasting house. When the live crossover eventually happens, Madiba says a few words and his voice fades out due to a loss in transmission.

With trends that come and go, some good music like Kalahari Surfers' remain only to elevate the bar on which social observation and protest happen, which many have ceased gracing due to a changed landscape.

© Deon Simphiwe Skade 2010

Impilo nameva: a summary of life at times

Painted a couple of years ago when painting came naturally - D.S. Skade

That pen

Sometimes they say be careful with that pen. And I know that they don't know what they mean.

© Deon Simphiwe Skade 2010

Traces of World Cup 2010

The beauty of a smile

We speak of sorrow
yet we smile;
we laugh
so as to be merry
amid all,
we still speak of sorrow;
yet we smile

© Deon Simphiwe Skade 2010

Amasi asekhona

What is victory?

if you beat me hard and I bleed,
do you call that victory?
do you feel great because I'm hurt
by your raging fists,
by your kicks?

© Deon Simphiwe Skade 2010

The 'Inverted Pyramid' style of presentation; a discipline that can be relaxed a great deal

So much to highlight; but the best choice for now is silence

The state of nothingness is devoid of emptiness - nothingness is abundance restricted

Papa ka lebese

Goodbye Xenophobia: an anti-xenophobic campaign

 Suzy's Mural message along the N2

With the death of Apartheid, several genocides, and other crimes against humanity, emerges yet another crime against humanity. The saddest thing is that South Africa is bringing up this ugliness again. We know that this is not what our South Africa is all about. It could be an ill element of thugs and people who hate stability and harmony that may be perpetrating this crime. That is why we all need to work towards rehabilitating that element of our land that brings us shame in the light of the many successes we have achieved as a nation.
Suzy Bell, a multi-talented artist and activist, is therefore calling on poets, artists, actors and people of Cape Peninsula to lend a hand in yet another anti-xenophobic campaign scheduled for Khayelitsha tomorrow, 17 Jul 2010 from 11am to 2pm. Any type of help will be greatly appreciated in deterring these terrible acts of violence.

She will be collaborating with the African Arts Institute, who will be availing their poets; and the Social Justice Coalition, who are monitoring xenophobic violence, in an event which according to the plan will commence with a poetry and theatre workshop. The aim is to focus on ‘conscious socio-political issues infused with elements of Hip Hop’ at the Oliver Tambo Hall in Khayelitsha, after which the activities will be taken out to the streets with poetry and performance theatre work shared and disseminated through loud speakers amid the presence of the Police for security reasons. The plan is also to distribute ‘Goodbye xenophobia’ stickers and flyers so as to discourage the madness xenophobia is, while engaging people thus trying to instil a sense of dialogue and anti-violence (more details in the worded document below - click on it to enlarge)

Suzy started this campaign on Wednesday the 14 July, hoping to receive the support that some people of Facebook had promised to lend, but unfortunately none of them pitched up. But this did not discourage her planned work; she did all she had planned by herself handing out stickers and spray painting murals as depicted in this post. She also talked to the local Police and residents about this issue of violence. Her efforts are quite inspirational, inviting support from all of us because we're all affected.
I remember a similar campaign organised by Thando Toto and Reamogetswe Jah’key Dichabe for their organisation which I was part of this past Saturday, 10 July. Cape Town was cold and wet with perpetual rain, but that did not deter us, a group of about nine concerned individuals from carrying out a planned action to distribute anti-xenophobic pamphlets in public transport areas in Cape Town's CBD. As with Suzy, Thando and Reamogetse’s respective initiatives, taking a stand means a commitment to a course come what may.

Another piece of the message Suzy spread

 
In my personal experiences, I have realised that people often get concerned when an afflicting event hits close to home. Usually, when that happens they need others’ support to see them through. This xenophobic threat and violence as it has sporadically emerged in some areas concerns everybody. To demonstrate that, Nhoza Sitsholwana, the band member of the music group Black South Easters, who collaborated with Suzy in her performance last Friday, lost her Ghanaian friend who was brutally shot a few days ago. Our thoughts are with Nhoza and her deceased friend’s family and friends.

It will be greatly appreciated if you could also assist in this campaign by taking a stand against persecution and acts of violence. You may mail or call Suzy on bellsuzy@gmail.com/ 0763755675 to confirm the support and see how you can also lend a hand.

The campaign's detailed info - click to enlarge

Details about the venue and the date:
Venue:             Oliver Tambo Hall – Sports
                        Centre, cnr Mew Way and
                        Lansdowne Roads, Khayelitsha
Date:               17 July 2010
Time:               11am to 12 pm

(C) Deon Simphiwe Skade 2010


Images and worded document used courtesy Suzy Bell

The quite violence of dreams

Vivid, daring, engaging and simply phenomenal storytelling at its best.
As a work of art, this book certainly goes down as one of the best I have ever read.
Rest in peace Sello K. Duiker - the Literary world is devoid of your incredible talent.

(C) Deon Simphiwe Skade 2010
Image source: Google

Danny Boyle's Trainspotting

Choose Life!

Image source: Google

Badilisha's Fire Word Friday: The last leg

Poetry, the language of the underground for Hip Hop, and a tool through which aesthetic expression for writers and traditional poets is achieved, was abundantly shared in various forms at the Badilisha's Fire Word Friday series held at the Cape Creative Exhibition, 37 Main Road, Greenpoint on Friday 09 July 2010. Five poets, each highly acclaimed with a distinctive niche in the poetic plain, gave impressive performances of spoken word and music.
The venue, which is no stranger in serving as an expressive platform for artists, offered its performance space on the top floor of its three storey building to these poets who are highly educated in the craft of making words sing and evoke heightened sense of comprehension. This space was shared with the audience who behold these valuable words - poets do amazing things with words, they make them sing.
The walls leading up to the third floor, together with the space around bore artworks while there tables which had displays of books by some of the poets who had graced the series. Also included on these displays was the latest copy of Chimurenga magazine, Hilton Schilder’s CD and other publications. This platform of expression made for an intimate space and ambiance, with just the right amount of audience to feed on the language of words when they mean more than their meanings, at the same time stimulated by the aesthetics of visual art
This intimacy, which was also accentuated by the meagre lighting whose source were two lights emitting just the right amount not to scare the closeness away, were positioned strategically with one on stage towards the back and another on the one side of the audience where these words would fall.

Mbali Vilakazi, a performance poet of note known to her fans as the Black Rose, commenced the proceedings of the evening by welcoming everyone in the last of the series of performances. The previous shows saw the likes of Bra' Sandile Dikeni, Karin Schimke, Croc E Moses, and Dr. Sindiwe Magona among other acclaimed poets come through to share their work. Mbali bade goodbye to Robbie Jansen in the wake of his demise earlier in the week, highlighting the tragedy of such a loss. After that she introduced the first performer, Bulelwa Basse, the founder of the Lyrical Base Project, an initiative that aims to highlight the existence of writers from marginalised communities. Her work has been published by the Department of Arts and Culture, Poetry Institute of Africa, Oprah Magazine and University of KwaZulu Natal Press.

Bulelwa’s performance was delivered with a combination of narration and poetry-reading done in both IsiXhosa and English. She related a sad story of not having met her father who like her, was also in the arts performing with a music band. It's a performance which triggered two kinds of thoughts within me: One being that of gratitude in that I know IsiXhosa well even though I am a MoSotho. The second thought, which throbbed with a need to be calmed, was over the concern I had that some members of the audience who do not understand IsiXhosa, may have lost important pieces of her journey of life and the significance of poetry in her existence from when she started writing her first piece as a teenager, to how her voice and subjects have evolved with each sense of accomplishment she attained. My concern over the language barrier, which was purely presumptuous, because for all I knew each member of the audience may have understood every word Bulelwa uttered; gravitated towards a recognition that poetry like other elements of the arts, serves as an important tool of teaching and inspiring people to learn new things like other languages.
I could not help but remember how we usually listen to poignant music sang in a language we don't understand, and how we endeavour to know what the song is about that way marrying the melody with the message - music and poetry achieve so much of that inspiration and drive.

The second performance was by Mavis Smallberg who has been writing poetry since the 80s. With her poetry of the evening she took us on a journey back in time when the struggle for non-segregated society was sought, telling stories of tragedy and triumph. She dedicated a few poems to people she had met and worked with, including the late Robbie Jansen whose demise is not a great loss only to people of Cape Town whom he told their stories and reflected their culture, but to the entire world. In a performance dedicated to Robbie Mavis invited Garth Erasmus, a seasoned multi-instrumentalist to help 'sing a hymn' for Robbie through a recital of a poem she wrote for him. Garth played a sad piece on a type of Mbira instrument which he started playing from the back of the room where he had sat. It was a captivating moment which complemented Mavis’ recital. He walked toward the stage playing gracefully while words filled the room celebrating the life of a man who had dedicated his talent to music.

From one genre of poetry to the next as with the diversified line up, Mbali called Aryan Kaganof on stage for his performance and suddenly the lights went off; a deliberate move as with Aryan's request as it later surfaced.
A hoarse voice, projected to sound almost haunted then emerged from the staircase leading up to the performance room in which we had sat relishing the evening rich with words. With this voice came a flickering light from a candle, which appeared to be nervous for being the only source of light in the dark room at that point. The obvious truth was that Aryan’s movement as he walked made the light unsteady. He walked through the aisle leading to the stage still reciting his poem while we watched in amazement. Another verse came out when he reached the stage; a vivid piece engaging and challenging one's metal perceptive ability as it spoke about someone who attended his own funeral. More words came out, with all drawing the mind deeper into seeing pictures that certainly left my mind musing over those strong images painted, and how words can transcend space and lead the mind through a wonderful experience of seeing and believing.

Natasha Tafari, a Hip Hop poet of serious substance succeeded Aryan's performance. She delivered a powerful opening poem expressed in Afrikaans. Again, the task of the arts to play a much bigger role of instilling a need for us to learn other languages, apart from many other valuable lessons it teaches was highlighted. I was fortunate enough to understand the delivery like those who understand the language, but still could not help but think about those who may have missed out due to obvious reasons. The performance was captivating; a Hip Hop voice sharing layered words which made my mind ponder over elegance and grace, for she was that elegant.

Suzy Bell with vocalist Nhoza Sitsholwana

The fifth and final performance was by Suzy Bell, a multi-talented creative writer who enlisted the services of Nhoza Sitsholwana, who sang like an angel; and a guitarist DJ Boshoff, who played a powerful and beautiful acoustic solo. Both Nhoza and DJ Boshoff are members of the band Black South Easters (You may catch them live at Zula Sound Bar on 22 July 2010).
Suzy used mixed media for her deliverance which centred mainly on art, xenophobia, and celebrating Cape Town through her highs, her beauty and her ugliness with Mandela Park and Hout Bay reflecting many social contrasts within the city. Her poems were also vivid and took one's mind on a journey through Cape Town's contours and her heartbeat; the injustices and love. For her successive performance, she made use of a projector on which she wrote and projected a re-mix sonnet while Hilton Schilder's music played through the CD player in the background. She also made a mural piece where she spray-painted a piece under the title ‘Goodbye Mugabe’, to which she informed me of the following after the show:
‘My haiku on Goodbye Mugabe is my mantra to say Goodbye now, Mugabe needs to go so Zimbabwe can rebuild as there is still tyranny in Zimbabwe despite the unity government.
And what concerns me most is that there are more than 1 million Zimbabwean refugees living in South Africa. But are the Zimbabweans made to feel welcome?’

Suzy Bell with her spray-painted work

Suzy takes the xenophobic situation very seriously. She’s running an anti-xenophobic campaign within Cape Peninsula in a bid to discourage the emergence of this threat against humanity. She’s also started a lo-fi campaign, an on-line and site-specific spray paint campaign.
(If you’re keen on lending a hand in this all important venture you may mail her at: bellsuzy@gmail.com)

A Friday evening could not have been more fulfilling for me. I absorbed most of those enriching words which I took home with me, while I silently thanked all the performers for their brilliance.
Now I wish I were also a Poet so as to have more latitude with words – respect to the Poets; your role in this life is crucial.

About Badilisha Poetry X-Change

Badilisha Poetry X-Change is a dynamic global platform for Pan-African literary voices. It’s comprised of two core projects:

1) Badilisha Poetry Radio – Launched in 2010, this online radio show, is the only poetry podcasting platform dedicated exclusively to the voices of Africa and its Diaspora. This dynamic online space allows poetry lovers to appreciate, celebrate and discover contemporary African poetry through a vast spectrum of voices and poetic genre.

2) Badilisha Poetry Live – Since 2007, has been showcasing Pan-African poets from the continent and across the globe. True to the meaning of Badilisha, a Kiswahili expression denoting change and transformation, each of these interventions includes two-to-three days of full-scale performance and a series of exchanges, workshops and discussions in Cape Town.
Badilisha Poetry X-Change is a project of the Africa Centre. Founded in 2005, as a not-for-profit organisation, the Africa Centre creates a platform for exploring contemporary Pan-African artistic practice as a catalyst for social change. It provides a new arts and cultural voice in Africa, for Africans. Badilisha Poetry X-Change is part of a fleet of projects created by the Africa Centre, for more information on these projects and the Africa Centre visit www.africacentre.net
www.badilishapoetry.com | tel: +27 21 422 0468

Images used courtesy Suzy Bell, Aryan Kaganof and Badilsha Poetry X-Exchange (Information on Badilisha work sourced from kagablog)

© Deon Simphiwe Skade 2010

Bra' Lewis Nkosi's Mating Birds

This note is dedicated to Bra’ Lewis Nkosi for his excellent storytelling in Mating Birds
Through an ambiguous presentation of the alleged incident of sexual assault, the story maintains an intelligent and aesthetic position of presentation among those I have managed to read.
The debate it generated only challenged further the stance an artistic work should occupy.

I credit Mating Birds for the inspiration it afforded my one short story that carries ambiguity – I hope to share it with you some day.
Thank you Bra Lewis! I celebrate your brilliance.

(C) Deon Simphiwe Skade 2010

Image use courtesy Google

Miskiete jag - D.A.D Keet

Prevent xenophobia: Join as many campaigns

Is the South African government reactionary? If not, what does the current xenophobic attacks threats mean, or what does the recent history relating to these attacks suggests? Do we look to government for answers and strategy in averting yet another imminent spate of madness and violence? Or is it a problem that needs to be addressed by the citizens of this country who refuse to see any human being treated badly in any degree?

These and many other questions come to one's mind when discovering not only through the news media but the people in the streets, that South Africa is about to shame herself again by ruthlessly persecuting, maiming and killing innocent African internationals.

Amid all these threats one official is shown on TV as saying these imminent attacks will be fought at all costs when they break, which in my understanding simply means they need to happen first in order to be countered. My interpretation to this sentiment is consistent with the very first spate of this madness and brutality which broke out about two years ago, when it came as a surprise to everyone, including government, when they happened and spread around the country with a remarkable speed.

I believe South Africa like any other country has its own Intelligence unit that monitors everything including the sentiment in the streets; otherwise how is it that our shores and airspace are always so fiercely protected to no consequence of any intrusion or attack?

Is it perhaps a case of selective Intelligence work that only monitors possible intrusions and not internal instability? We know that's not the case because if such was true South Africa would have turned into a state lawlessness and anarchy long time ago.

The past injustices in how the first spate of these xenophobic attacks were dealt with needs to be looked into with more detail, by way of opening up a commission which will get to the bottom of this matter and address all related causes of this despicable madness and avoid any future ones from threatening the ambiance sweeping through the country at present due to the FIFA Soccer World Cup tournament, which is a remarkable achievement that needs to be nourished further.

I have yet to see a tangible measure taken by the authorities regarding these first attacks. If there’s anything tangible that has happened in bringing the perpetrators of this brutal violence to book, or the source of these attacks had been found and addressed, please excuse my lack of knowledge of such. For a serious issue like these new threats of attacks, one would have expected a very harsh and comprehensive manner in dealing with this phenomenon but nothing of that kind has happened, unless it's an Intelligence matter which has been kept a secret, which also frighteningly suggests that it has been handled as poorly as the first attacks. Where is the Intelligence that monitors everything? I will ask this question again begging for answers.

It may well be the right time now for the citizens of South Africa to take action against Xenophobic attacks and many other endeavours of eradicating the suffering of one person by another at all levels, and also decide on how they wish to see their country run. This violence happens in the streets, in some of our own neighbourhoods. Do we still expect the government to deal with this frightening threat even though the past has reflected a poor handling of this matter? One would expect a prevention measure and not a counter measure which will, by the looks of things, be exercised once these attacks start. One does not sense any confidence in the tone of language used in measures taken when this matter is being spoken about in the Media. Can we not take charge of our own streets as a united community by refusing this madness to wear South Africa again?

The political game is one filled with contradictions and may possibly not be looked at for answers. People on the ground need to take care of this beautiful country with its entire people, native or foreign. We need to form as many anti-xenophobic campaigns which will prevent this insanity from happening and not react to it when it happens.

One will concede that there are many logistical and legal issues involved, which inevitably means that we need to look to the government for help – a collaborative effort will be perfect. Yes! Let’s collaborate and rid our country of any form of violence.

This is our South Africa and I refuse to see anyone's blood being shed again.

To help prevent this form of violence (for Cape Town residents) please join the Anti-Afrophobia Pamphlet Distribution campaign, which will be hosted at the following address – please bring as many people along:

Venue: Cape Town City Hall,

            Darling Street (Opposite bus depot)

Time:    13:00 – 17:00

The event is hosted by Thando Toto and Reamogetse Jah'key Dichabe.

© Deon Simphiwe Skade 2010

The ArTist making us ponder

Chillin' in the sun for a tan

Pomp Sak: Pagtig!

One and the same

We
are
one
piece
of
wood
that
breaks,
that burns,
that illuminates

(C) Deon Simphiwe Skade 2010

HHP at Kirstenbosch in 2009

Lekoko Number One on stage with the band

Kirstenbosch's plain sloping down towards Jabba and the band while we watch in awe; at the performance of course

Jabba and friends lighting the night up

(C) Deon Simphiwe Skade 2009/2010

Two worlds: Fiction and Reality

I oscillate between the world of reality and fiction.
I observe a moment and find the reality being that both worlds are real.
Fiction imitates reality and mocks it badly when the best time comes by.
I'm for both worlds; they make sense all the way.
A big thank you to creative 'fiction' writers:
The late Sello K. Duiker; Aryan Kaganof; Bra’ Lewis Nkosi; the late Phaswane Mpe;
Joseph Conrad; Bra’ Wally Mongane Serote;  Kopano Matlwa; Bra’ Zakes Mda; etc

(C) Deon Simphiwe Skade 2010

Street life

Where even the elegance of Table Mountain will never shield shivering
bodies from the cynical cold sweeping from the south westerly, some
people call this place home.

Clouds of the north away from the Cape

Remembering Iggy Smallz

R.I.P Iggy Smallz

deejay box,

box office

boxed coffin – these things have a way of claiming people

these things have a way of owning people

there won’t be “Another late night”

for “Smallz sweet sounds”
“Through the journey of Guidance”

Deon Simphiwe Skade
05 Jan 05, Cape Town

(Composed after a tragic death of Iggy Smallz, a gifted South African house DJ)

Image used courtesy Discog

Under the shade of trees where my thoughts were held to an epiphanic tranquility

All Clear's No VIPs

I must confess that the first listen I had of All Clear's No VIPs did not solicit an engaging interaction that music often has with the listener. It could partly be due to the partial attention I had afforded the music, which I must concede was quite unfair.

It was during this half-dedication to the record that I made a swift first impression, which suggested the album to be of a satirical nature. This is due to me having paid attention to one component of the product and not all of it, largely because the vocals appeared to be 'unusual' for me at first.

I had since had another listen, this time without much distraction and I acknowledge having had an inaccurate impression earlier.
The value of words as they deteriorate in modern society has become a great concern not only to linguists, but to those who appreciate their depth like me. It is fascinatingly important that I first highlight the depth of words in the lyrics that No VIPs have; this I immediately recognised as the first song played in the second listen by the way. Their power is admirable and engagingly elegant. The foundation on which the music emanates is a rich range of instruments at play. The band, made up of Allan Kolski Horwitz on vocals; Gideon Isele (Bass); Daniel Isele (Drums); Olusoji Enigbokan (guitar); Walter Dikgale (keyboard) and Samuel Dimie (Keyboard) produced layered melodies demanding to be taken very seriously because their sound is rich with pleasing diversity and detail.

With such introduction, I was forced to let my shield off and de-attach myself from the comfort zone I have had with familiar genres and opened myself up to the new music. At that point of growth in relation to the music, Allan sang with an almost husky voice lamenting that there's ‘still no hour of liberation.' In the song, he's reminding ‘people to remember the stories of their scars’ and that ‘the people's leaders respect the people.’ It's an unrestrained voice whose messages are a combination of poetic and conscious narration. As the voice and the instruments bonded further, I listened indiscriminately, to the whole package and not only what my ears demanded. The lyrics rose in prominence, sincerity and relevance tackling anything from corruption to love. I listened more attentively because the words were getting more serious, tackling issues of importance.

Released on the 4th of June 2010, the album comprises of 13 songs. It is diversified in lyrical content and melodies, thus songs bear different messages each telling its own story through the ensemble. I took an immediate liking to the album title located on the seventh spot in the track configuration. It's a frank rendition like the others who put the spotlight on the reality of our lives as it has become with false definitions.
'Set aside false claims - don't be another has-been,' the song says, 'No mercenaries - no servants - no brands - no VIPs,' is plays on.
For some reason, the title track reminded me of Mashamplani's Hey Kop during the height of Kwaito’s relevance, which discouraged arrogance, vanity and excessive interest into other people's affair. Music then, like All clear does with their new offering served an all-important role of being a social commentary tool.

Other songs that made an impression are ‘Midnight’ which addresses a commitment of one soul to another come what may. There's ‘Morning light’ which celebrates a love connection between
lovers whose physical exchanges and the contentment they bring may lead them to faraway places in their commitment to each other. ‘Intencity’ is another gem which narrates the city life’s setup with its perils and issues in their varied nature; suspicions, paranoia, fear, safety; it tells the story.

With the dangers that come with categorising music, I would stay clear of putting this album into a specific genre, but instead highlight the elements I discovered in my private listen. I encountered elements of classic rock, alternative and reggae. There's a conspicuous voice of 'African' music in the instruments; someone may think Johnny Clegg and other form of music perceived as bearing 'African' elements. Perhaps it would help to put this widely and loosely used term into context for the purpose of this review:
Reggae music is said to have this element too. For all we know it may emanate from a genre never before defined, thus may be legend. Those are politics of music I should not get into. That element I referred to is the one that has a distinctive melody related to the sound of the African drums and its tempo; it is in the strumming of the bass as it throbs distinctively; yeah! It emanates mainly from that base of the music and the drums.

No VIPs resonates with rich and engaging instrumentation laced with conscious and thought-provoking lyrics. I love it when music defies genre-classification, that way it's has a greater appeal and can be listened to with an open mind. This record certainly achieved that with me.

©Deon Simphiwe Skade 2010