Port Elizabeth

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OF ALL the periods in Hip Hop’s few decades of existence, there still hasn’t been an era that heads sentimentally connect and long for, like the ’90s era.

This nostalgic feeling is driven by the reverence in lyricism, the holy sampling, the endearing Boom Bap sound and the purity of the genre right before the immorality of the new millennium. It’s for this reason that even in this current Trap era, there are still emcees who uphold the above-mentioned 90s era “principles”. Simphiwe ‘Sim’ Mabuya is such emcee.

This is by no means a suggestion that his 12 track album Perceptions should be relegate to the 90s. Nah. The project is refreshing, particularly because it came out just this year.

IN THA STREETS: Simphiwe 'Sim' Mabuya. Photo supplied
IN THA STREETS: Simphiwe ‘Sim’ Mabuya. Photo supplied

The 90s Hip Hop head enthusiast inside me listened to the album in one sitting and appreciated it. Mabuya’s music is like something you’ve heard before, but always wanted to hear again. His storytelling is amplified by lived experiences, his vulnerability and the wisdom that comes with those lived experiences. He makes grown-ass black man music.

The emcee from kwaZakhele, eVuku in Port Elizabeth has a Drama background having studied at the University of Cape Town. “My drama/theatre background has always played a huge role in influencing my music. The stylistic writing, the vivid storytelling, the bringing of emotion / mood to the music and of course the poetry.”

“The project took me about 8 years or so to put together. Meaning the writing of the songs, a few songs I’ve had to rewrite, followed by a fun but long process of beat selection. Its authenticity mostly stems from real experiences, direct and indirect, reflections of my (and my society) daily experience plus stories living and growing up ekasi under difficult and horrific circumstances.”

In just 3:44 he managed to package some of these horrific circumstances, like being stabbed in the eye, to the rays of sunshine in his life, the birth of his daughter for example, in the beautifully laid Ngasekhaya. “I intentionally chose a variety of producers for the project to be diverse without losing that Jazzy, Boom Bap Hip Hop feel,” says Mabuya.

The album’s producers include Adon Geel, Bulelala Ngodwane, Xolani Duai Skosana, Planet Earth and Christian Monashe.

“Pain, joy, loss, daily struggles, achievements, conversations with self, traveling, reading …and a longing for a meaningful and empowering piece of music,” Mabuya tells me of what inspired this body of work.

A REBEL WITH A PURPOSE: Simphiwe Sim Mabuya. Photo supplied
A REBEL WITH A CAUSE WITHOUT A PAUSE: Simphiwe Sim Mabuya. Photo supplied

Unlike a Costa Titch album, Perceptions isn’t bombarded with features of other emcees-there’s no confusion about whose album this is, his voice is rightfully consistently present on this work. Mabuya only had one emcee on this project, with a few vocalists negotiating some of the choruses and hooks.

“I felt I needed to show my pen capabilities, above all …share a chunk of who I am, thus the album title Perceptions. Also I find it challenging to work with energies that aren’t on the same musical / spiritual plane as I am: pen game is critical, authenticity/ originality are key and a positive working energy,” says Mabuya. His first offering was 2007 Social Poetics, which he says was discontinued due to poor production quality.

On the song Tata he openly talks about the hurt brought by his Popps’ absence in his life. The joint is so real, he shares with listeners that the only thing his dad ever bought him was a belt. It’s one of those essential songs in the crevices of the album which will never be bumped on radio and probably won’t be a fan favourite nor a music video shot for it. The song highlights father-son daddy issues on a similar level that HHP’s Danger on the uRata Mang album did for teenage pregnancy.

Perceptions was released in August this year and Mabuya’s work has been received well by listeners. “Frankly, the project has been doing great, gradually gaining meaningful traction within a space of just three months of its release. I’ve been receiving great comments or feedback from everyone that has taken time to listen to the project and am truly thankful and humbled by the response so far.”

THA STORYTELLER: Simphiwe Sim Mabuya. Photo supplied
THA STORYTELLER: Simphiwe Sim Mabuya. Photo supplied

So well that his music has been used on popular television drama series Gomora. “I had sent the music to a friend, she loved it and thought the album would be great for Gomora. She requested I forward five songs I felt would be proper for the show and I did so. A number of days later I was requested to send the entire album, I guess the show’s producers loved the project. I was blown away by the response I must admit, it proved that we, Home Grown Concept, had done a stellar job. So…yeah, it’s quite exciting and dreamy that the music will be heard from the award winning TV show,” a thrilled Mabuya tells me.

The album can streamed here on Spotify and here on Apple Music. You can also stream it on YouTube.

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I’M of the strong belief that the location in which one choses to consume music at, has an effect on how the songs are received. But specifically listening to an artist’s album, in a place where they were born sorta gives you a high-definition experience of the body of work.

This realisation came as I listened to Mandisi Dyantyis’s album Somandla, while in Port Elizabeth,his place of birth. I’ve had the 12-track album on my playlist for well over a month now; it’s a great body of work. But struu no lie, being eBhayi just for a few days, I would say gave me an unfiltered understanding of Somandla. This could also be a strong placebo effect. But ag, the latter fits well with me story.

The opening track Molweni is poignant in how it not only welcomes you with a warm greeting to this 59 minute journey, but it’s the only joint on the album without instruments. Dyantyis choses to sing this ditty in acapella, as if offering his true self first, to the listener. The acapella jogged my memory to The Soil, pre-Samthing Soweto-exit.

Dyantyis’s experience in music is ever present on the album, managing to genuinely cater for the hard jazz cat and also for the lover of soul, who enjoys sweet melodies and harmonies. Dyantyis works a lot in theatre, as a composer and arranger for plays and movies while he’s also been a church choir conductor and also played in a band.

The vivacity of the way the instruments are played and arranged on Kuse Kude, it can trip you into thinking the song is a jovial one, but a closer listen to the lyrics, you pick-up the irony. He talks about how far we are from getting it right as human beings, if we still live in a world where youth rapes their elderly and kids are sexually assaulted by adults.

I first came across Dyantyis through the title track of the album, Somandla with the well-shot video a few months ago. Made sense why the album has the said title. Most of the songs have an air of melancholy and are like a long conversation with the Creator, a dialogue which at times is without words.

The song Olwethu is a case in point. You need not get the backstory to feel the song’s sadness. Olwethu is Dyantyis’s late younger brother, whose passing hit the musician hardest. “I had lost some people before, but losing him, I could not deal with it because, for me he was a young life full of potential,” Dyantyis said in his EPK.

Kode Kube Nini is the kinda track I can play for most people-be it a struggling artist, a mother praying for their child to get off drugs or a damsel waiting for marriage- because it carries a universal question, ‘how much longer should I wait till things go right?’ The song talks to one’s patience and endurance.

I appreciated the slight change of mood in the latter stages of the album, with songs like Molo Sisi and Ndimthanda. Dyantyis has a beautiful voice, but the latter stands out as his best singing performance on the album. It allowed him to show off some dexterity and it’s also a dope joint of a fella simply macking on an attractive female. Ndimthanda also celebrates love and the beauty of attraction’s simplicity, even for a couple that’s been together for a long time.

This album has been nominated in the South African Music Awards in the Best Jazz category alongside Sibusiso Mash Mashiloane’s Closer to Home, Exile by Thandi Ntuli, Bokani Dyer Trio’s Neo Native and Tune Recreation Committee’s Afrika Grooves with the Tune Recreation Committee. He stands next to some renowned names in that category, but if Dyantyis doesn’t walk away with it, I advise the judges drive down to Port Elizabeth and listen to Somandla. They’ll get it.

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“Yes a lot! It has also encouraged other females to go and have themselves checked as endometriosis is often misdiagnosed,” says Merushka Aroonslam.

The 17 year-old was talking about how her fundraising for an operation she has to do this Thursday, has opened the eyes of other women who might be living with the condition.

Merushka Aroonslam. Photo supplied

Endometriosis results from the appearance of endometrial tissue outside the uterus, which causes pelvic pain. Although the Lawson Brown High School pupil was diagnosed last October, she has been lived with the disease for three years now. She has been fundraising for her surgery since January, managing to draw a small crowd of people who are actively helping her raise the funds, under the hashtag #EndoTreatment4Merushka. Her supporters sell food, stickers, t-shirts and wash cars.

Endometriosis. Mayo-clinic

The hashtag has built much steam thanks to her fame as a car spinner. Aroonslam was on the verge of selling her pink and black new era Nissan Skyline with a 2.8 (L28) motor, to raise funds for her operation but fortunately she didn’t.

“Spinning, motorsports and cars has been part of my life since a young age and I’ve always had a passion for it as my dad use to do it back in his days when it was still illegal.  Spinning is a sport that once the bug bites, there’s no turning back.”

The girl from Port Elizabeth wants the operation done so that she can go back to her life of spinning, which has become a catharsis for her.  “A rush of emotions and adrenaline, you feel completely free and it’s a way for me to de-stress and just leave all my problems on the pitch,” she says describing the feeling she gets from spinning.

She regularly does her thing at Wheelz n Smoke events, under the SPINderella female banner. She began spinning in 2017.

Merushka in motion. Photo supplied

The surgery is set to take place at St. George’s Hospital, at the cost of R55 000 for a 2-hour treatment. But could cost more if the procedure takes longer. “We close to our target but we haven’t quite reached it yet.”

Aroonslam is currently in matric and she sometimes misses school due to the severity of the pain. “It’s my second operation but I’m still very scared and nervous. I don’t think you can ever get used to it.”


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