Brad Pitt

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13min3660

Chris Rock once juxtaposed complimenting André 3000’s artistic calibre, to showering a beautiful women with bouquets for her exquisiteness. At times it seems as though artists such as 3 Stacks, Kwani Experience, Sade and even Frank Ocean play hard to get with their cult-like followers, who are subjected to waiting aeons for any release.

“Don’t play hard to get, but play hard to forget.” This corny line by Drake aids my understanding as to why the great aforementioned artists are lauded. It’s not the excitement of dangerously flirting with the possibility of losing ardent fans, nor playing hard to get but artists who don’t fickle to industry pressure have this in common- they respect time and the muscle of art.

“…they’ve been asking for it [a solo project] since our first Las Day Fam album in 2008. So a huge expectation is certainly out there,” rap artist LandmarQ tells me. Over a decade later LDF has released two albums, Eternal Effect (2012) and Dissent (2017). The clique won the Best Group award in the now defunct Hype magazine Hip Hop awards in 2010, got a SAMA nomination at the 2013 South African Music Awards (SAMA) and won Best Gospel Rap at the SABC’s Crown Gospel awards in 2011.

THE MAN, THE MYTH THE LEGEND: LandmarQ finally standing solo. Photo by Clive Thibela
THE MAN, THE MYTH THE LEGEND: LandmarQ finally standing solo. Photo by Clive Thibela

But still, dololo a LandmarQ project. With no disrespect to Bonafide and Baggz, it’s an open secret that listeners fervently anticipate the LandmarQ verse on each LDF track. He has the sort of presence on a track, a mere punchline or clever wordplay can’t match. It’s not only in what LandmarQ says, or how he says it but shit sounds sick because it come from him- he has natural artistic integrity.

“It was inevitable that a time for a solo would come. I just never had a timeline/deadline for it. I also wanted it to be organic when it happens. I wanted it to be inspired and come from a good place. I believe creativity can’t be forced or pressured. It should be an outpouring of a natural process,” says LandmarQ.

Be that as it may, some artists shun going solo because of their discomfort of being the centre of attention preferring to “hide” within a group- there’s a plethora of reasons why some performers won’t pursue a solo career. “I am not uncomfortable about it. I just believe that there is a time and place for everything. In any show, the spot light moves to where it needs to, for the purpose of shining and highlighting the main performance act for that particular moment. So I’m happy to have the spotlight when it’s my time to perform.”

“IF THE MEDIA SAYS THERE’S A GENRE OF HIP HOP CALLED CHRISTIAN RAP, I’M NOT PART OF THAT GENRE. SIMILAR TO THE UNDERGROUND RAPPER TITLE…”- LandmarQ

Having pondered on it and even getting the nod from his LDF brothers, the spotlight is stationed on LandmarQ with the release of his debut solo project Envy and Avarice, a seven track mixtape which is first of a trilogy of mixtapes set to drop this year, inspired by the Seven Deadly Sins.

JUDGE THE COVER:The artwork was inspired by the flaws of human nature and the turmoil and complexity of of being human.
JUDGE THE COVER:The artwork was inspired by the flaws of human nature and the turmoil and complexity of of being human.

He says the decision to release was taken in 2019 “I met and consulted with several producers to craft a sound for the album. I also made several beats for the project but then decided an album might not be entirely a good idea especially considering that I haven’t put out music before as a solo artist. So therefore a different approach was required.”

He took the old school route, hopping on other people’s instrumentals which he tweaked a bit. “So the producer in me still found expression on this project albeit a little less than usual. However the route to follow the traditional mixtape method was crucial for me to do because it’s important that music lovers and fans alike get to experience LandmarQ on a wide variety of instruments/beats. The key thing however was creating a sizeable body of work.”

The reason he chose the Seven Deadly Sins as the concept for his series of mixtapes, is to bring awareness to the condition of society in general, and specifically the condition of the Hip Hop culture. J. Cole did something similar last year with the Kids On Drugs album, focusing on narcotics. A concept about Greed, Envy, Pride, Gluttony, Sloth, Lust and Wrath directly questions the behaviour of the inner self.

“We are all confronted with varying degrees of extremes of the Se7en (remember the movie by this title with Brad Pitt, Kevin Spacey and Morgan Freeman?) in our society at large and in Hip Hop. And the hip hop community is a lovely case in point i.e. tension between old and new cats, underground and commercial, this sound and that sound etc. And its manifestation in hip-hop is most notable because hip-hop as a form of expression is definitely brash/boisterous.”

The rap artist who hails from Tembisa comes from a group pigeonholed to Christian rap and with a solo project tackling a heavy topic such as the 7 Deadly Sins, there’s a likelihood of being trapped in that box as the preachy rapper. “I am not making a Christian statement with this mixtape series. I am making a statement on humanity, in the world at large and in hip hop culture,” LandmarQ says adamantly.

“The Seven Deadly Sins is not a Christian concept. After all, the seven deadly sins aren’t even mentioned in the Bible. Its origins are nebulous and likely trace back to before Hellenistic Greece. Historically, and especially in the Philosophical disciplines, the 7 Deadly Sins have been society’s way of trying to formulate a universal theory of the pitfalls that human beings face.”

But LandmarQ isn’t oblivious to how the simple-minded might perceive his choice of topic to be conservative and limiting especially because the media has dubbed him a ‘Christian rapper’. “That isn’t how I would describe myself. If the media says there’s a genre of Hip Hop called Christian rap, I’m not part of that genre. Similar to the ‘Underground Rapper’ title. I wouldn’t describe myself as an underground rapper.”

NOT HERE TO PLAY GAMES: LandmarQ in picture. Photo by LandmarQ
NOT HERE TO PLAY GAMES: LandmarQ in picture. Photo by LandmarQ

He continues “In Hip Hop we rap about our way of life. And because I am a Christian, I have and will continue to touch on Christian themes from time to time. But that’s no different than any rappers that incorporate their reality in their music. Chuck D of Public Enemy said rappers are like journalists. I’m a rapper’s rapper and have rapped alongside the best rappers in the country and have been featured on numerous songs that aren’t Christian and aren’t underground. And my message is universal. If you love Hip Hop that stands for something, I’m your guy. I however am a rounded human being. Sometimes my music is about having fun with wordplay, with different flows and metaphors.”

The project is out today. Listen and download it here

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8min3852

BORN under unusual circumstances, Benjamin Button springs into being as an elderly man in New Orleans and ages in reverse.

That’s the summarised plot of the Brad Pitt movie, The Curious Case of Benjamin Button. The 2008 film’s narrative regurgitated in my mind as I listened to Stogie T’s latest project, Honey & Pain.

As a mark of growth, artists tend switch from their alter ego monikers to being known by their I.D names on stage. Just this week, on Tha Bravado I wrote a piece about Selema Writes not going by the names Sledge Lee and Dice Mak anymore but embracing the name he was given at birth.

Artists who are genuine about this, will have their art as witness to this change. When Stogie T announced he doesn’t want to be referred to as Tumi anymore in 2016, the veteran rapper wasn’t taken serious. But his music has shown that there’s definitely been alternations.

Don’t get me twisted, Stogie T’s raps are of Tumi’s quality. Stogie has more bravado and doesn’t seem concerned about what his bars do to the environment. In the intro of Rapture where he features Jay Claude, Stogie raps:

The verse Kodak, decoded that

See it through the eyes of those

Living where there ain’t no hope at

Dealt a better card, I wasn’t

Made up like a joker

Add my legacy to the ledger

I won’t be broke Jack

Stogie’s patterns and rhyme schemes are an amusement park for a genuine Hip Hop lover. That’s why Tumi And The Volume will forever be etched on the memory of South African Hip Hop because Stogie is a superb emcee who was in a band with great musicians, creating timeless songs.

The music on Honey & Pain doesn’t have replay value, except a few songs, this is mainly due to the things he raps about. On Big Boy Raps he’s on his remember raps, in the last verse sounding like a petty OG talking about cars he drove, juxtaposing himself to rappers who are currently in the forefront of the Hip Hop.

It’s when listening to such, which makes me comprehend Andre 3000’s reason for his retirement from Hip Hop because it’s a young man’s game, especially the braggadocio side of things. Listening to some of the songs, you get a feeling Stogie’s tryna prove that he’s also got swag. You’ve got it bro, you need not prove anything.

Stogie T the storyteller is what he needs to give us more of, which he did on the track Numbers Game. The joint has YoungstaCPT on the hook and surprisingly he doesn’t have a verse on the song. I found the song quite timely considering the scrutiny that has been on the coloured community and the prevalence of gangsterism there. Stogie tells the story of one who grows up in the coloured area and the adversity they face on daily because of the barrage of social ills.

On the 14 minute long God’s Eye he went hard on a number of beats (about eight) dropping verses not accompanied by any chorus. It reminded me of his project, The Powa Mixtape in how he talked to important issues such as the pursuit of a better life by immigrants from war-torn countries.

It was good hearing Maggz on the project’s single, Pretty Flower and the new kid J Molley. The latter served his purpose on that hook.  Stogie T has a good ear for talent, which guides his choice of features. Rouge is the equivalent of a Kevin De Bruyne on Side Chick, her hook holds the song together plus she raps, while Ayanda Jiya’s gentle voice gives the song that tenderness to counter Stogie’s patriarchal stances on the verses. It’s a good song which I imagine should do well on radio.

I appreciate Joharzardousburg for the vibrant beat, its length and of course the raps. I haven’t heard anyone do a song about Joburg, painting a picture of the complex and colourful city-it’s such a rapper’s rapper thing to do. It also sells Johannesburg to those who’ve never been here.

Stogie has the rare condition of the Button disease, in musical terms at least. He came in the game making music way ahead of his time and beyond his wisdom-ironic that Button was born in New Orleans and Tumi’s music had strong jazz elements in his early days.

Now I believe he’s at his adolescence juncture, enjoying music and ripping the mic, just for the sake of it. The longer he goes though, his sound may become primitive in the name of being a young person who’s having fun.


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