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Vat vyf! Week 38 van 2016 – Sanral, Brangelina, jags onnies en kak studente

In Wat is nuus? deur PK MalherbeRek jou bek

Want Brad is alleen en studeer is een moerse (s)taak!

1) SANRAL, daai werfetters wat tolliehekke op Gauteng se paaie opgerig het, het hierdie week bloedneus gekry by die appèlhof. Hulle Wynlandtolprojek is gekelder soos goedkoop wyn nadat hul aansoek om verlof tot appèl rakende die projek van die hand gewys is. Skrale troos vir SANRAL is darem die feit dat Johannesburg ook nou ‘n berg het als te danke aan hulle… ‘n Berg van opgehoopte rekeninge wat padgebruikers weier om te betaal.

2) Studente wat tot so paar maande terug detensie gesit het en en hul skoolkouse een keer moes omvou om by die reëls te bly, neem weer kampusse op horings en betoog oor ‘n beplande verhoging in klasgelde in 2017. Staak dit! Wag, laat ek dit rephrase. Hou fokken op! Niks in die lewe behalwe vlooimarkromanse en Jehovah Getuies traktaatjies is verniet nie. En net as die sekuriteitswagte of die polisie na die studente toe mik met iets wat harder as a peashooter skiet, dan bekak menseregte rasieleiers hulself. Kyk, ek’s ook ‘n fên van menseregte, maar nie as dit skuil agter menseverkeerde nie.
oprah3) Freek! Freek! Freek! Dit het net nie dieselfde vaaib as Jerry Springer se aanhangers wat altyd Jerry! Jerry! Jerry! skree wanneer iemand se tannie se oom se neef met sy sussie se kanarie se lintwurm ‘n verhouding aanknoop nie. Maar miskien kan Freek Robinson tog so bietjie inkyk op die geval van die Mpumalanga skoolhoof wat dik getik is deur twee matriekmeisies. Hoekom? Want sulke wasieworsie kaskenades. Hy het blykbaar die twee met mekaar verkul en toe raak hulle erg woedend. Hy is intussen gesaaspênd. Sulke eina. Sulke hoofpyn. Hoof? Pyn? Geddit?

4) “Kinders by dosyne, kinders by dosyne, kinders by dosyne in hul glorie ja!” Ai, ek onthou hoe ons almal vir Brad en Angelina gesing het op hul troue. Oom Martiens van Delmas het nog die heildronk ingestel. En kyk, die twee het toe mos nou kinders by dosyne gehad… Hul eie en sulke Abraham Kriel-gevalletjies. Fok. Praat van Womb Raider. Maar nou wil Angie nie meer nie. Genoeg gehad van Brad se daggazolle en sy gerinkink met so ander aktrise flerrie. Ten minste sal Angie nou meer tyd hê vir haar humanitêre werk onder vlugtelingkrimpvarkies en mense wat die sleutels van hul sleepwaentjieslotte verplaas het.
brangelina5) En die moeder van die volk (Sit asseblief Juanita du Plessis), Winnie Madikizela-Mandela Wela-Kapela het haar 80ste verjaarsdag met swier in Kaapstad gevier. Die sentrale vrouefiguur in die destydse struggle het ‘n struggle van ‘n ander aard uitgeleef deur half onsamehangend aan te blah-blah en soos microphone foam te lyk.
winnie-foam-head

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    PK MalherbeVat vyf! Week 38 van 2016 – Sanral, Brangelina, jags onnies en kak studente
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    Hoe kan alternatief groot wees as niemand weet wat dit is nie?

    In Rolbees Reviews deur RolbeesRek jou bek

    Ek het baie kak om te praat oor hierdie compilation. So kom ons begin by die begin. Ek het nog altyd gesukkel om uit te figure wat alternatiewe musiek presies is? Selfs in die eighties het ons alles wat nie op mainstream radio gespeel het nie in daai boksie gaan staan en bliksem. REM was eers alternative, toe word hulle mainstream in die nineties. Jirre ons het selfs grunge in die alternative boksie gaan bliksem in die early nineties. Ons het nie eers besef dit het so onder ons neuse mainstream geword nie. Tot Nirvana Unplugged in 1994 op SABC gewys het en ons geskarrel het om die VHS masjien te organise om dit te tape. Ek dink Kurt het al klaar die planeet verlaat teen daai tyd.

    Dit was ‘n genre wat ontstaan het in die garages van Seattle, deur record companies gepackage is met kleredrag (onthou julle flannel shirts?) en nihilistic attitude en al en toe worldwide verkoop is. ’n Genre binne in ‘n genre van ‘n genre in nog ‘n fokken genre. Die grunge movement het eventually uitmekaargebliksem want rock and roll het eenvoudig evolve. Net soos die glam metal scene voor dit. En die seventies soft cock rock scene voor dit (Boston, Chicago, Journey) and so on and so on.

    Locally was ons so afgesonder van die res van die wêreld dat alternative musiek basically net dit was wat Barney Simon vir ons gespeel het. En as jy genoeg geld gehad het om LPs te import was jy lucky maar het probably nie van die helfte van die alternative bands geweet nie. Dit was ook maklik in die eighties en nineties om te identifiseer wat Alternatief Afrikaans was. Dit was ‘n scene op sy eie. Basically was dit die Voëlvry artists. Meestal Koos Kombuis, Johannes Kerkorrel en Bernoldus Niemand. Koos het ons mos straight getune in sy musiek hy is ‘n alternatiewe Afrikaner. So dit was eenvoudig maar politieke musiek het ook uitmekaargebliksem. Want rock and roll het net eenvoudig evolve. Was Fokofpolisiekar ‘alternatief’? Ek het gedink hulle is punk rock toe ‘As Jy Met Vuur Speel Sal Jy Brand’ release is maar toe evolve hulle in amper ‘n hard rock genre van hulle eie. Karen Zoid? Ja maybe was sy ‘wat jy ookal dink alternatief is’ aan die begin. Maar sy het ook in ‘n hele niche mark van haar eie in evolve. Sien hoe moeilik is dit? Dit kan confusing raak.

    So kan jy nou in 2016 dertig jaar se ‘wat die Coleske broers dink alternatief is’ probeer package en verkoop?  Doen julle maar die wiskunde. Maar ek is in twee minds oor die ‘Alternatief is Groot’ compilation as a whole. Ek sal nou mooi verduidelik, laat ek net eers hierdie punt klaarmaak. Mathew Mole, MiCasa, Die Heuwels Fantasties, Ryno Velvet Band, Taxi Violence, Albert Frost, Gazelle, Nakhane Toure,Bouwer Bosch en Jax Panik. Om net ‘n paar te noem. Hoe naby is elkeen van daai artists aan ‘wat jy dink alternatief is’?  Is Valiant Swart nie net blues, folk en rock nie? Wat van Jan Blohm? Sien hoe moeilik dit is? Ek het eers gedink Riaan Grobler oordryf bietjie toe ek sy artikel gelees het. Ek weet nie veel van die feuds van Skouspel versus Afrikaans is Groot nie. Ek weet net ek het nie ‘n passion of interest in wat hulle doen nie. Ek het laas Huisgenoot gelees toe Kerneels Breytenbach nog music reviews gedoen het. Maar toe ek hierdie album self gaan sit en luister het en bietjie dink oor ‘wat ek dink alternatief is’,  het ek presies verstaan wat Riaan bedoel. En ek stem saam met hom.

    Die Coleske broers sit die pot mis hier met hoe hulle die offering benader en bemark het. I know it when I see it. Goeie fok, hulle het nie net die actual beweerde genre-pot gaan mis sit nie maar daar is pop en dance ook op die CD. Was dance al ooit in die geskiedenis van musiek naby aan enigiets remotely alternatief? Mmm… wel daar is altyd the Progidy. Hahaha, ek is seker daar is baie ander voorbeelde van dance alternative musiek. Sien julle hoe moeilik is dit? Dit kan confusing raak. So een van die issues is sekerlik of jy werklik kry wat jy gedink het jy gaan luister as jy hierdie CD koop? Ek kan nie sê nie want ek weet nie wat ‘alternatief’ presies is nie? Ek weet net baie fans is nogal sensitief daaroor as jy hulle favourite bands tussen ander musiek gaan ingooi waarvan hulle nie hou nie, op ‘n compilation album.  As jy ‘n breë musieksmaak het gaan dit jou fokol pla nie, anders moet jy net die artists google voor die tyd en net die wat jy like download op iTunes. Problem solved.

    Maar ek sien ‘n positiewe kant aan die offering. Julle moet self besluit, maar ek doen. Kom ons neem aan die Coleske broers het die gap in die “wat hulle dink alternatief is” mark raakgesien en hulle intensie was om ‘n lekker chunk goeie musiek (nie commercial bokkie-baby tos nie) aan die breër massas bloot te stel. Dis ‘n befokte idee, is dit nie?  Dis net nie die obskure of hard rocking kant van ‘wat ookal ek dink alternatief is’ nie.  Dis soos om in die eighties al die metal ballads (moet nou nie die musiek presies gaan vergelyk nie) van ouds op ‘n compilation te sit en om hardrocking glam metal bands so te promote. Gaan dit werk? Het dit gewerk daai tyd? Sien hoe moeilik dit is? Daar is so baie befokte Suid-Afrikaanse musiek wat nie in die huidige mainstream genre val nie en waarvan niemand weet nie.

    Ek vra gereeld vir mense wat net skaap as dit by musiek kom of hulle nie die name wat ek dink bekend is ken nie. Sonder om nou name te noem. Ek was geskok dat baie nie doen nie. Of net die omgee om hulle musiek te gaan uitcheck nie. Want hulle skaap eerder op die radio. Ek sit week na week en luister die befokste nuwe tunes van meer gevestigde en jonger bands en review dit, maar ek is bevrees nie almal kry die exposure wat hulle moet nie. Suid-Afrikaanse musiek (beste wat ek nou kan doen in terme van genre) het massively evolve. En ons moet dit ook almal besef. Net jammer al die kief tunes kom nie alles by almal uit nie.

    Om terug te kom by die die Coleske broers. Hulle moes een of ander formule probeer gebruik het om te bepaal watter spesifeke songs gaan verkoop en watter nie. Is daar in beginsel iets fout daarmee? Gaan CDs soos hierdie genuine in-roads maak en die mense wat skaap bietjie blootstelling gee aan goeie ‘wat julle ookal dink alternatief is’ musiek? Gaan die skapies die res van die bands op hierdie album se albums gaan opsoek en dit ook geniet? Of gaan dit soos die ou Pop Shop compilations (wat ‘n groot invloed op my gehad het toe ek ‘n laaitie was) net ‘n klomp hits aan mense flog tot die volgende handpicked musiek weer oor ‘n paar maande release word? Die groot verskil tussen Pop Shop en soorgelyke compilations was net dat daai tunes alles recent hits was. Al was ons probably ‘n paar maande agter in SA. Maar dit was ‘n goedkoper manier om breë access te kry tot nuwe pop en rock radio hits. Selfs al was dit die Coleske broers se mission is ek nog steeds fine daarmee. Ek sukkel net om te verstaan hoekom songs van Evoid of Sugardrive saam met current hits gegooi moes word. Kyk, ek is mal oor beide daai bands, maak geen fout nie, maar is dit nie ‘n opportunity lost vir meer onbekende moderne “wat jy ookal dink alternatief is nie” kunstenaars om blootstelling te kry nie? Besluit julle maar self.

    Die laaste punt is daar is mense van die publiek en ander kunstenaars wat op social media beweer hierdie album gaan net oor die big bucks. Die bottom line. Moola. So hier is nog ‘n vraag vir julle: Is daar iets fout daarmee om in ons klein SA musiek mark ‘n CD uit te bring om geld te maak? Beteken meer geld nie meer geleenthede nie? Meer mense wat dit hoor nie? Meer mense as die gewone fans wat na gigs toe gaan nie? Hulle mag dalk net meer albums koop, na die less mainstream bands se shows gaan kyk. Is dit nie progress nie? Uit ‘n besigheidsoogpunt, met alles wat in die land aangaan, is dit nie wat ons wil hê nie? Groei, verkope en fully packed ‘wat jy ookal dink alternatief is’ shows? Wil ons nie almal graag sien dat alle musikante finansieël beter doen nie? As ons Francois van Coke en Karen Zoid nie tongue in cheek terg omdat hulle oor vesrskillende genres kan entertain nie is dit nie ‘n teken dat die verskillende markte dalk besig is om nader aan mekaar te evolve nie? Is dit ‘n goeie of ‘n slegte ding? Besluit jy maar self. Ek dink wat Rolbees die meeste pla is, omdat ek meer (nie uitsluitlik) van musiek hou wat nie mainstream is nie raak ek frustreerd as die pie nie behoorlik verdeel word tussen almal nie. En ja ek besef dit gaan oor wat die massas wil hoor. Having said that, ek dink hierdie offering kan glad nie skade doen nie. Ek sal dit ‘n kans gee en verder dophou. Aan die Coleske broers: Try net songs en artists insluit wat meer klink soos ‘wat almal dink alternatief is’. Sien hoe maklik is dit. Good luck with that.
    alternatief-is-groot

      

     

     

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      RolbeesHoe kan alternatief groot wees as niemand weet wat dit is nie?
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      “We can do whatever we want. It just has to sound good to us” – Watkykjy interviews progressive metal band, Periphery

      In Watkykjy Interviews deur griffinRek jou bek

      One of South Africa’s biggest anticipated annual metal festivals, Krank`d Up is just around the corner – this coming Saturday at Sundowners in Alberton, in fact. Do yourself a massive favour and get your ticket right now for this amazing one-day metal show. Progressive metal band, Periphery is one of the international acts who will be taking the stage, all they way from Washington, D.C. We asked Watkykjy’s in-house metal doctor and all-round wiseguy, Chris Van Der Walt to have a few words with guitarist and founder, Misha Mansoor…

      Have any of you guys ever been to South Africa or what do you expect from South Africa for this Krank’d Up fest?
      So… this is kind of interesting. I didn’t live in South Africa vut I did live in Zimbabwe for a few years. I was in Harare and we drove down to Joburg a few times. So I’ve definitely been in Southern Africa before.

      Awesome. Your feet have touched the soil so that’s pretty cool.
      Yeah well actually my parents are also both from Mauritius so I’ve been in that part of the world many times.

      The album, Periphery 3: Select Difficulty – it is an amazing album. Its been melting my brain ever since I’ve listened to it. The title, Select Difficulty – I mean that’s kinda hinting at like games and stuff like that. Where does the title come from?
      Honestly, we were throwing around sub-titles and this one stuck and we liked it. We’re all gamers and we do this sub-title thing as like a tongue in cheek thing. We definitely wouldn’t want to have like a serious or an entirely serious sub-title because it then just kind of misses the point.

      I mean if you check the video, Marigold as well, even the way that it is animated – it does have friendly or fun side of feel to it as well.
      So that director who did that, Wes Richardson who directed the last three videos that we’ve done – he at this point kind of understands us so he’ll periodically just send us treatments for videos and I think… if you haven’t seen it, he did the Scarlet video and that one was sort of the one that galvanized this sense of what we’re after and I think in his mind when he was was proposing videos to us he had a bunch of really cool video ideas and they all sounded great and then he saved for The End of The Call and this one is a little bit left field and he said “just let me explain and hear me out and tell me it is crazy and we’ll just do one of the other ones” . But that was the idea for Scarlet – it was an epic battle between mustard and ketchup and it was gonna be filmed on Red cameras and a green screen. We were gonna make it look as epic as possible and it could be completely absurd and everyone in the band was like “Yup, that’s it!” and I think as of then he started to understand our sensibilities a little bit especially the kind of stuff that we like. So when he showed us the treatment for Marigold, again it was like this video-gamey thing. We were like “Alright, well this exactly the kind of stuff we like” and it is also very different from any music videos our peers are putting out so I think it was kind of a win-win in our book.

      It is great that you guys have a fun side too. You can’t be serious all the time.
      Well, you know, the thing is I think we take our music very seriously which is why with everything else we can have fun with it because the music is the one thing that is sort of sacred, but then everything around it is like “well, now we don’t have to be serious anymore”.

      Tell me a little bit about the writing process.
      Sure! Periphery is a band of producers and we’re always writing and we always have ideas but we’ve found a system that kind of works well for us to sort of give as as much of a head start at any point without over defining any part of the process before we actually start. I usually tend to oversee the pre-production session and the writing session. Jake will also come over here as well because we’re sort of the core writing team for the guitars. We’ll just get those riffs downs on programs and I’ll produce it as best as I can and have a few cohesive ideas. They’re not arrangements but they are ideas that work well together. Then we’ll get Matt and Spencer to come in and they’ll be there for the actual arrangement because something that we maybe thought would be the verse, Spenser would listen and go “No-no-no, this is the verse. This is the chorus”. He’ll be thinking of ideas of what each part is and that will affect how we arrange the song. Matt and I are pretty much on the same level of the kind of drums that we like so we’ll usually be on the same wavelength but you always have some changes that generally improve things. Everyone just kind of chips away at their parts and its a very valuable process. Although it starts with sort of one or two people it eventually becomes a process where everyone has input and anyone can have input on anything. We’ve been careful in not identifying problems, but identifying solutions. I think Periphery 3 was a very fun and easy album for the first time. Every other album has been very stressful at times. Because we’ve really figured out this dynamic. Instrumentally I think we got everything written and committed in about two weeks and it felt good.
      band-photo-peripheryAre there any concepts maybe you as a guitarist tried to approach?
      No, we have a very basic concept in Periphery which is “does it sound good?” That’s the only rule. We can do whatever we want. It just has to sound good to us. And by us, it means the band, haha! Label, management, everyone on our team – they hear the album when it is finished and mastered.

      The album is a really nice balance between heaviness and melody. It kind of gets away from the monotony, I guess?
      We like all aspects. There is no one way to skin this cat. We like to have a lot of fun and we really don’t ever want to find ourselves in a position where we’re saying something like “Yeah, its cool but I think its too metal or its too rock or the fans won’t like this”. We don’t care about that at all. We are extremely grateful to the fans who support us and listen to us because we know we write our music extremely selfishly. It is always a pleasant surprise to have people like it because it was not written with anyone in mind. They only people we are aiming to please are ourselves as a band.

      Because you guys are going to play these songs night after night and if you’re not enjoying what you’re playing its gonna really suck.
      Honestly that’s the kind of thinking that will eventually make me go “You know, that’s not worth it. I don’t wanna be in a band anymore”. We have this as our vehicle of self expression. We have to be excited about these songs. It has to be stuff we believe in. None of us really care about being successful or commercially successful, I mean we play progressive metal for God’s sake! Its not money making music and we’re not trying to make money with it. We’re just trying to have some fun.

      Misha, you do some MIDI triggering live. On this album, do you use that kind of stuff as well?
      Triggering maybe a bit of a misnomer making people believe we’re doing things that we’re not. We have our laptops doing all of our patch switching. We use this thing called the Fractal Axe effects which is basically an amp effects simulator, so rather than having a huge guitar rig with a rack full of effects we’ve just got this tiny little black box which for example, we can very easily pack into a suitcase and travel to South Africa, haha! It is very convenient and one thing that we discovered we could do pretty early on, rather than switching with a foot switch or a controller, we could actually have the laptop send those signals to the Axe Effects instead. So we could just concentrate on playing. Our drummer plays to a click. We all in fact play to a click with in-ears and we all have the click track going and our own personal mix is going. So as long as we all stay on the click track (which is generally not a problem) all of our changes lock in. And we’re wireless – wire guitars, wireless in-ears so we can literally be standing anywhere on the stage and our patch changes will happen so it gives us a bit more freedom to worry about the show rather than being locked into some position.
      misha-monsoor-peripheryNolly is not touring with you guys anymore. He’s still helping out with the tracks. What is his role? How is that dynamic? 
      That’s a fair question. Nolly recently got married and with all the visa trouble its become extremely complicate for him to tour at all. This visa stuff has always been a nightmare with him but with him getting married it just became near impossible and we could also tell that he wasn’t enjoying touring as much. You know, he doesn’t complain so we talked to him about it and… touring is hard. It is not for everyone. He would do a good job, but we could see that he just wasn’t happy. He us such an essential member of the band in every other aspect  that we all were hoping that he wasn’t quitting. We got all our dynamics figured out and he is such a huge part of the production and the engineering and the mixing process that it is something that we just didn’t want to lose and it would really shake the band if he left and he is completely willing to be as dedicated in every aspect there. He just doesn’t want to tour anymore. He has a very unique bass tone which he developed for Periphery. Him and I have worked on it for years. He plays the bass unlike anyone else and it is not very traditional and we figured the best way to have our live sound not to be affected negatively is for him to prepare tracks and we’ll put him on the backing track. So he’ll be there in spirit and we experimented with it and it sounded great in the in-ears and the most important thing is that we sound correct. For the time being this is the way we’re gonna move forward to ensure that our live shows sound as good as it can be.

      I see your Periphery Summer Camp is coming up. What is that all about?
      We’ve been doing meet and greets and VIP things with the fans for years and we always try and make them more of a hangout session and a bit more personal. Just as much as our fans want to get to know us, we want to get to know them as well and we ended up finding that we have a lot in common. They’re actually really fun. Matt has done a few of these drum camp things and they were thinking “Periphery should come and do one” and we talked about it in the band and it just made a lot of sense. If I’m honest, I was a bit apprehensive that anyone would show up bit it probably sold double of what I was hoping for to the point now where I think we’re gonna have to like, cap it off soon because you almost don’t want to have too many people there because it is a personal experience, but its been a very big success sales wise. We have a whole bunch of stuff planned from anything from the musician nerd stuff, the recording stuff, the writing stuff to just hanging out and having a good time. So it should be equal parts educational and fun. We have a lot stuff planned for this camp spanning 4 or 5 days in up-state New York. It is a little bit geared to the musicians but even if you’re not a musician  we’re gonna make sure you have a good time. Its gonna be a good summer getaway and we all hang out and meet similar minded people. Hopefully it forges some new relationships there as well.

      Thanks for talking to us. We’re looking forward to see you guys at Krank’d up in South Africa.
      Thank you so much for the interview. Just real quick – I used to know all the Zimbabwean slang. How different is the Zimbabwean slang from South Africa? We used to call everyone “my china”

      My china, my bra, howzit, lekker… So if you know some of those you’ll fit it
      I used to know all that stuff.  I never learned Afrikaans, but I had a lot of friends who spoke Afrikaans…

      Just stick to slang, its good enough, man. 
      I like it! Lekker!
      periphery

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        griffin“We can do whatever we want. It just has to sound good to us” – Watkykjy interviews progressive metal band, Periphery