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1. Where are you from ?

 I was born in Johannesburg but moved to Cape Town in 2013.

 

2. What made you choose 'Sptmbr Yngstr.' as your stage name ?

September is my birth month. I chose the name when I was 17 so youngster fit perfectly & had a nice ring to it (haha).

 

3. How long have you been producing?

Just over 2 years now.

 

4. What’s the influence of your production style?

The scenery around me influences my style & Cape Town has some of the best scenery in the world. The tall buildings in the CBD & mansions along the coast, the beautiful beaches, mountains & wildlife definitely have an impact on my music.

 

5. Who are some of your favourite local influences?

 I've never really been influenced by local musicians but SA is definitely full of talent across all genres. I'm glad to be connecting & working with a lot of really cool people across the country.

 

6. Would you mind expanding on how the Soulection playlisting happened and what it meant for you to hear your song there for the first time? Were you a fan of the show beforehand?

 

Honestly I would never have expected them to use my song for their North American tour promo vid let alone get played 3 times on Soulection Radio.

 

I guess Joe Kay found my track by chance (haha). I've never been a die hard Soulection fan as I've only found out about them 2 or 3 years ago but it's cool to know they dig my music.

7. What advice would you give South African producers trying to get their music out?

Never change your style to fit in. Overtime people will start noticing & acknowledging your talent & authenticity so keep practicing & releasing the music!

 

8. And lastly, your genre is very unique in the face of other local South African hip hop acts, do you think there’s room for your kind of sound (i.e. the future bounce/ Soulection style) to make a local impact ?

My style of music is definitely not in demand yet in SA but I believe in a few years I'll help bring a lot of awareness to the talent that's getting overlooked in our country. I

 

f we all work together (musicians, platforms, event companies, media outlets etc.) our community can definitely have a huge impact worldwide even.

 

 

Follow Sptmbr on social media: 

 Instagram

 Twitter

 Facebook

 Spotify

This week's guest is none other than Cape Town's own @sptmbr-yngstr 🇿🇦

You may have heard him on Joe Kay's Soulection Radio or seen him at Cape Town's Rocking the Daisies festival but he's been kind enough to bless us with some exclusive bangers (available @FTLRadio)

© 2019 by FTL Radio.

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*A Review and Dissection of what may be a modern classic in RnB/trip-hop: Sir - Chasing Summer*



Sir’s latest offering “Chasing the Summer” feels like an afternoon after a taxing day, where you come home to a comfortable & warmly lit space, with your marijuana pre-rolled and a dessert you enjoy so much you just have to eat it slowly to really savour the taste. A theme that permeates this entire body of work from the very Title and the ushering first track; but takes a few detours down a nostalgic memory lane where he longs for the all too familiar simplicity of Inglewood his hometown, vs the seductive allure of Los Angeles. I’m not sure whether he is metaphorically comparing both cities to contrasting lovers or this nomadic dilemma many internationally touring artists face is being personified as two contrasting love affairs?


Now bare with me; I’m not making assertions on Sir’s personal life, because while according to an interview with () while some of his songs are very personal, he does draw inspiration from other peoples experiences; which I believe he packages into a coherent narrative of Tropical love affairs which are constantly juxtaposed to a more familiar and kush-hazed love that appears to be in LA. So this is purely an analysis of the narrative journey Sir takes us on, which actually becomes apparent when you juxtapose the lyrics in Sir’s “Something New” which features on November to Chasing the Summer’s Fire and The Recipe.


Why I believed it was imperative to comparatively compare the narratives in the lyrics between November (2018) and Chasing the Summer (2019), was to get a sense of where Sir’s mind was before he went on his most recent tour which is while he was making November and on tour which is was during the time Chasing the Summer was recorded, because in an interviews with BigBoy TV and Hot 97, Sir alluded to the fact that: to him, his music is his therapy, which is why he describes his music as very personal, saying that they were narrations of his own and others’ personal experiences.


From the title, Chasing the Summer foreshadows the theme of a nostalgic yearning for a carefree nirvana similar to adolescent Summer Holidays, but does so by always making specific reference to LA, love affairs, or at times even legal marijuana from Cali throughout the album.

The whole album seems to be set in a moment of reminiscing, as Sir is seated on a plane just before take-off. In an interview with BigBoy TV he speaks about how he was flown around in Dot’s private jet during one of his recent tours, which is where he may have sampled some airplane recordings. These moments may represent Sir potentially reaching or at least deciding on his Nirvana, which was h always actually his home in Los Angeles , which one could reasonably assert by listening to the final two songs on the album in order.


This is merely one man’s opinion on the album, and I would love to hear what others have to think about it. With that being said, with pleasure I would rate this album a solid 9/10! This album has consistent themes beautifully communicated through charmingly impressive vocals. The features were nothing short of iconic, featuring the likes of Kendrick Lamar, Jill Scott and Lil Wayne amongst others! The album also has so much replay value, evident on all the commentary across various social media platforms and YouTube, with Soulection Radio’s Joe kay commenting how he had the album “on repeat”.


Listen to the album over on on our Apple Music and Spotify Playlists.


Piece by Bulumko Napakade

Written by Bulumko Napakade

 

As long as Africa’s history has been written by the ink of a western pen, Africa has been framed as the world’s backward counterpart whose very survival depends on aid, void of the intellectual creativity to bring about her own development. This false narrative propagated by this Eurocentric smudging draws a veil over historical evidence such as the fact that the world’s first libraries and universities find their genesis in African soil. The western world never have and never will have a monopoly over knowledge that echoes high modernist visions of the future… not as long as the majority of the world’s youth population are in fact African. A youth whose colourful, vibrant and unsurpassable creativity has been the single most powerful influence on modern fashion, pop culture, and the area closest to our souls and the focus of this article, the music.


The internet has connected African youth to one another and the rest of the world, producing an African child with a global perspective when it comes to their tastes in fashion, and music; these influences had a heavy impact on the sounds that have enjoyed international popularity from music that came out of the South African scenes... but not in West Africa. Here we find a youth so immersed in their roots, where Western influences don’t dominate, but rather represent creative borders that exist to be broken and trends that are to be disrupted by an unapologetic Afrocentric identity, so authentic that it cannot be replicated or ignored... an energy so themselves!


Originally this article was going to be a deep dive review of Santi’s latest offering “Mandy & the Jungle”; however as I listened to the this album on loop for over a week, I found myself lost, deeper in the rabbit hole of the extensive list of collaborators and influences, encapsulated by what sounds like an Afro-beats album… but just isn't. This is a universe, a universe Santi makes his mark in through producing an Afro fusion of high modernist Afro-pop delivered in unapologetic pidgin-English flows; with a soon to be released comic book that renders the album as a mere soundtrack to the world that is Mandi & the Jungle. A universe that is relentlessly traveling beyond the borders of Lagos, but permeates throughout the Millennial youth in West Africa, the UK, the states, and here in South Africa.


We find that this is a youth who produce visuals that represent the beauty encapsulated in their community’s aesthetic, sounds that captures the rhythmical poetry of the colloquial of their conversations, and the dramatic nature of their volatile existence... their music is a reflection of their people. A people whose priority is the enrichment of the collective, and display this by supporting their homies first and anything that authentically represents their identity. They create together, with the understanding that collaboration is better than competition, with positivity as the driving force instead of the stale creativity of individual ego... we see this in the extensive list of collaborations the album features. In fact there are more records with features on them than actual individual tracks. Featuring the likes of his long-time collaborator, Odunsi the Engine, DRAM, Shane Eagle, and Soulection’s Tay Iwar.


 

Future beats, Eclectic Souls ,Forgotten gems and timeless sounds... Soulection Radio are really invested in the creative energy coming from Africa, signing the previously mentioned Tay Iwar as one of their first artists. A move that features so many potential synergies. Soulection radio was originally perceived to be one of the world's leaders in curating the best of emerging sounds... originally finds its roots in the same collaborative energy that draws parallels to Odusni’s involvement in the production of the Afro fusion of high modernist Afro-pop in Santi’s sound, and Santi’s involvement in the direction of the 2000s Nollywood inspired Odunsi the Engine music videos with a Gen Z twist. Soulection not only curates the most innovative sound, but are involved in its development as seen by their investment in African artists.


But there is no need to look beyond the borders of the home of this creativity that is rapidly growing the dominance of African influence on the global sonic trends we are starting to see. FTL Radio, a platform, and collective movement, that not only curates the best of both domestic and international sounds, but is invested in the birth of a new era in South African RnB.


The creative chemistry between Tinashe and new-era RnB artists 2AM and Noiir both feature Hennessy Smooth production, with intoxicating emotions delivered in hooks that remind you of messy conversations and sexual tension... that just feels right. Probably because for the first time there are artists that are narrating the unique complexities of young millennial black love in the context of sunset Cape Town or midnight Johannesburg; sounds that will challenge what you thought was possible sonically in rhythm and blues.


The purpose of this article evolved into a call to action: To simply pay attention the creativity happening in your very circles, neighbourhoods and cities. To encourage young gifted and black youth to collaborate and create together, building a network that will mature and grow into a platform. Ones that resemble the likes of Soulection Radio, ASAP Mob, OFWGKTA, and the MSFTs ; I say this because they find their roots in very similar origin stories.


I implore you to listen, feel, relate to the emerging sounds being developed and curated by the myriad of creatives, artists, producers and content producers involved with FTL Radio, not because you may know them personally, but for the love of good music and quality content. Watch this space, your immediate space, your adjacent space these African spaces, because we’re taking over the world!



 

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