TRNSD Sound x HYPE Magazine Presents Session X – Tsukudu

TRNSD Sound x Hype Magazine have finally reached the big 10! For “Session  X” we are happy to feature Joburg based producer, Tsukudu Moreng for this special milestone.

This month Tsukudu will be releasing a EP on the 25th of May, in the meantime you can bounce to this exclusive mix that he made for TRNSD Sound x Hype Magazine ‘Session X’ and check the interview below.

How long have you been in the game, and how has your sound changed over the years?

I wouldn’t consider myself fully in the game just yet, but I have been making music for about 8 or so years now. My sound from when I first started has changed quite drastically, and I suppose it is because I keep growing and developing as an artist. Even till this day I still feel as though my sound changes in a way.

When I started, I was trying to make Hip-Hop beats but because I listened to a lot of alternative and electronic stuff as well, my sound inevitably developed into a blend of everything I was listening to or inspired by. In my 3rd year or so, I went into doing acapella music and which lead to me putting out an EP called Armonias which was the first piece of work I was confident enough to put out. From then on I worked on various projects and each of them had their own unique sound and style that sort of represented where I was as an artist at the time the project was being made. Now I believe my sound is more refined but I still can’t really put a name to it, I just know that it sounds good to me haha.

Can you give us the lowdown on your upcoming project MELODIESONIC 

MELODIESONIC is a musical EP which is essentially my latest effort as an artist. I’d like to consider it my formal “introduction to the music game,” considering the time and effort put into it. The cover art is very specific in that it was crafted to deliver a message about where I am right now as an artist and as a person who wants to follow his passion and love for music (I will leave the precise interpretation of the artwork to your imagination haha).

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The EP is inspired a lot by the music that I listen to, coupled with what I believe to be a musical expression of where I am as an artist today. As a person trying to get into the music scene while also working a 9-5 and completing a Masters degree, the EP is a musical expression of the trials and tribulations that I have gone through during this time. It’s basically a story of someone that is extremely and deeply passionate about his art (music) but life circumstances keep that person away from living their dream, which is a reality for most in South Africa.

It also represents acceptance of the fact that I have a lot to learn as a musician, something that I was in denial about from the beginning. Finally, the title is an ode to electronic music, which deals a lot with the meddling of sonics and sonic sounds but doing so in a melodic way, in a way that touches the soul.

MELODIESONIC will be available on all streaming platforms including Spotify and Apple Music on the 25th of May 2018.

Talk to us about the current state of electronic music in South Africa

Haha great question. I think generally speaking it’s in a good place, but it could do better. In SA the focus is still very much on EDM, which is good, but the scene around the world is moving fast towards Electronic Soul and Electro Jazz and so on. It would be nice to see us South Africans get on the ball with these new waves of electronic music. There are SO MANY gems and amazing artists that are being slept on and that is just because as South Africans we are still used to traditional EDM and other traditional genres of music.

Who do you consider your contemporaries, who have you collaborated with, and who are the artists you would most like to work with?

Wow there are so many, Internationally I would say Evil Needle, Kaytranada, Monte Booker, Tom Misch, Galimatias, Jordan Rakei and The Like. They inspire me so much. In SA, I have collaborated with the producer Sage Hitomi (he’s unbelievable you have to check him out). I have also collabs with tons of upcoming artists, Vuyo Renene, Melo B Jones, Nu Edison, 2leestark, SimmySimmyNya. I’m still working on other music with those artists as well which I am really excited about, those guys really push me to become a better producer and all round artist. I would most like to work with artists like KaeB (amazing producer, check him out), DjSkinniez, Daev Martian, Muzi and Espacio Dios. We don’t really need to put stuff out, I’d just love to sit in studio with them and talk about music and their respective journeys. That’s like the best form of inspiration I feel.

Favourite piece of tech…

Teenage Engineering OP-1 Synth, i just cry at the power in that synthesizer.

Favourite hangout spot…

Wherever my friends are lol?

Music to play at the afterparty when it’s 6am and the sun is beginning to rise…

Definitely some Bonobo or Taylor McFerrin or Robert Glasper, I think I’m just mellow like that.

Where you can find Tsukudu 

Twitter

Instagram

 

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TRNSD SOUND x HYPE Present Session 003 – Bo’s Hub

TRNSD SOUND x HYPE

For our 3rd installment we feature the Cape Town based eclectic Producer/DJ Bonolo Thomas AKA Bo’s Hub. Listen to her exclusive mix below.

 

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I recently heard the Under Pressure Sundays season finale which was released this past week. Please give us the lowdown on how the dope idea came about and are you going to continue with it or is this really the end?

So Under Pressure Sundays came about very spontaneously. My very good friend DrugFreeSports and myself started the page, with the help of Justice Machaba, Lazy Ent and Dada Shiva, as a means of channeling our experimental musical ideas. The Under Pressure Sundays page was just a simple outlet and the weekly Sundays element added to the “under pressure” type vibe we had imagined. The consistency of our weekly drops gave the experiment momentum and it literally just grew from there. Today I’d say Under Pressure Sundays is a safe space open to musicians and producers who would like to share their perspective of music.

It is definitely not the end, it’s quite the opposite actually. Under Pressure Sunday’s is structured seasonally, so this finale tape is just the end of this season. There should be more stuff coming your way in a few months or so. It’s also quite difficult to cope with the weekly time constraint so breaks are necessary.

Of course, okay that’s good news! I wanted to know in your experiences, what are some of the challenges that still have to be overcome in such a male dominated industry? Although we now have platforms like Pussy Party and Girls Just Wanna Have Fun that promote and cater for femme DJs.

I absolutely love these platforms that are surfacing in and around our spaces that cater to female talent like myself. What’s so amazing (but not surprising) is that fact that the general vibe at Pussy Party (for example) is the actual vibe. Like, nothing beats those organic energies, which says a lot about the trajectory of where the industry is headed. There are so many dope huns killing it out here, stressing about the male dominance aspect of this stuff (I feel) will hinder my vision and growth as an artist.

In your opinion, what’s the difference between the Cape Town and Joburg music scene?

In terms of the eclectic nature of the scene in both areas, I’d say they’re pretty much the same to be honest. I think Cape Town is more exciting because of the variety of spaces we have as options. It’s almost like a musical treasure hunt. You can stumble across a cool, low-key, live band acoustic spot on a strange day. A place you have never heard of and they’re playing your favourite type of music there. In Joburg you have “go-to” spots you go to in order to access these vibes. Certain places are known for certain vibes and that is how it is, unless you come across pop up festivals that creep up here and there (which we need more of).

A little get to knows:

–  Music to get high to…

Anything by Vibe Music Collective, James Blake (Pembroke/CMYK stuffs) and definitely a lot of other tracks. This question isn’t fair lol

–  Favourite piece of tech…

I’m assuming you mean technology? lols uhm… my laptop.

–  Music to play at the afterparty when it’s 6am and the sun is beginning to rise…

It depends what type of party I come from. I usually continue the previous vibe. So if we were at WeHouseSundays for example, I’d play a young deep house playlist.

–  Favourite hangout spot…

Anywhere in Obz and Woodstock (Cape Town). Kitcheners in Joburg AF. I’m more of a chill session girl or cooler box outdoorsy vibes wherever.

–  A Musician/DJ you’d want to collaborate with…

Hlasko, Linafornia, P.U.D.G.E, Steve Lacy and Frank Ocean. I want to learn from DJ Premier. I’d also love to DJ alongside someone like Hannah Faith. She attracts a very good aura and vibe. That Pussy Party type energy. Lol I know I’m reaching…

Artwork By - @kamo.wasabi

Artwork By: @Kemo.wasabi for Under Pressure Sundays

 

 

Live For Live

Concerts, concerts, always a flip the coin situation. More for the uncertainty of what will be coming your way, one should have expectations especially when they have paid money for it. Now you are patiently waiting for the entire ordeal to go well, hoping it will all be worth it. Concerts offer something you wouldn’t experience when jamming alone or with headphones on your way to school/work, very much a surreal feel of the music itself.

There is a certain level of effort put in by the artists during a performance, as a fan you want to see when they pour themselves into their music. Something you can only see live. For some, the atmosphere itself is what wins them over, how great the act is able to engage with the crowd, giving another aspect which adds to the music. Certain international acts don’t give their all in their performances. Mainly big names (will not name drop), key word was certain. As not all artists have this inferiority complex about South Africa, Africa as a whole actually. Probably seeing a big international act give us his/her all on stage, wanting to make our money worth spending on them. Especially when one we’re to exchange our currency into their currencies, they wouldn’t be making much profit but that’s when you gauge an artist who is in it for the art. The people who appreciate their art. Instead of it being a selfish gain, how they are doing South Africa a favor.

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Before I continue a few concert rules need to be set;
1. Tall people should not be in the front of the damn audience. I mean you can easily see above most heads, now why be “that guy” who wants to see everything impeding others’ view. Where is the damn decorum!?
2. Don’t by any means stand next to the speaker, no matter how psyched you are feeling that night. The next morning will definitely be a horrific one.
3. Can the opening acts not be a platform for organizers pushing their friends’ Mixtapes. Especially when the music is so experimental, it feels weird. Yeah yeah I get intimate crowds are open to new things. But not all new things need to be experimented all the time you know? No? Okay.

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I recently went to a concert by a Canadian jazz band by the name of BadBadNotGood (styled as BADBADNOTGOOD, BBNG for short). They were initially only performing at The International Cape Town Jazz Fest. But, someone probably getting God on the phone, Kool Out managed to bring them to Jo’burg. Something I personally have become a huge fan of, is how these small bands can get a crowd (granted I’ve only been to two concerts) it’s about how music can travel through many countries. Good music will always be found and heard. It shows when these relatively small acts, who aren’t known commercially can sell out the works, without losing the main theme of an intimate setting with the audience. The ability to engage with the crowd, without feeling you aren’t having the same experience as a person three places behind you. Maybe this is dramatic but, you feel how it is to be in studio with them jamming.

Generally from the comments made by the “Beyoncé” of BBNG, who was very surprised as to how energetic the crowd was, it could be that us being in another country. We hardly get acts constantly coming back, as we have come to know that a world tour equals every place besides anywhere in Africa. The crowd knows they have to make the most of this opportunity. Getting an artist at their peak, whereas most legendary artists see South Africa as a ticket to enjoy their glory days who come way after their own buzz has died down in their own country. I personally don’t want to be at a Big Sean concert when his raps are all corny and he isn’t rapping songs I would like him to right now before he stops performing ever. Probably this forms my biased need for an intimate performance, making it feel that the artist is purely trying to please me or one person even though they aren’t (I probably sound narcissistic but I’m not).

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Back to the concert, it felt as if I was back at Puma Social Club (a social event which Puma used to host in different cities around Gauteng), and I never wanted it to end. From the opening sets that were playing music you wouldn’t hear when you are out but should. Opening acts got a bit weird (remember point umber 3). Past the clustered crowd, being close to the speaker, sweating a bit from all the cigarettes. Concerts have this feel that music can bring anyone together for about 2-6 hours. Fine, fine we not saying music is changing the world. We can say concerts are the one place where world peace can be seen.

I recommend to vibe out to BBNG, they’re really worth having a listen to — SOUNDCLOUD

Author: Njabulo ‘Thube’ Nkutha