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5
Contents
editorial
KHADIJA TRACEY HEEGER
Redefined
GEORGE LEWIS
New Music Decolonization in Eight Difficult Steps
GIORGIO AGAMBEN
The Supreme Music. Music and Politics
Theme Social Impact
SAIDIYA HARTMAN
Riot and Refrain
THOMAS BERNHARD
Executioners
WILLEMIEN FRONEMAN & STEPHANUS MULLER
Music’s “non-Political Neutrality”: When race dare not speak its name
STEVEN ROBINS
Spectres of Racial Science at Stellenbosch University: From Eugen Fischer’s Eugenics to the Department of Sport Sciences’ Retracted Article
MOHAMMAD SHABANGU
Education as the Practice of Freedom: Towards a Decolonisation of Desire
CHUMANI MAXWELE
The Solitary Protest That Gave Birth To #RhodesMustFall
SISCA JULIUS
Chappies bubblegum
EMILE YX? JANSEN
Heal the Hood & World with Afrocation
MESULI NALE
Move For Two: Educating for Leadership Through Dance
SARAH MALOTANE HENKEMAN
On the Social Impact of Telling Your Own Story in Your Own Way
ACHMAT DAVIDS
The Social Impact of Language: The "Coloured" Image of Afrikaans in Nineteenth Century Cape Town
JACKIE SHANDU
On the Social Impact of Self Hatred
AZOLA DAYILE
Imbamba – Uthunyiwe: On the Social Impact of Migrant Labour
YAMKELA F. SPENGANE
On the Social Impact of Name Changes
ANELE NZIMANDE
On the Social Impact of Motherhood
ZIYANA LATEGAN
Problems of and for Philosophy
galleri
JOAN OTIENO
Art as the Social Impact of Repurposing Waste Materials
GARTH ERASMUS
Xnau
GARTH ERASMUS
Virulent Strain
ANDREA ROLFES
Not the Paradise Garden
MZOXOLO VIMBA
Sunday best, kakade!
ROCHÉ VAN TIDDENS
Four Compositions
JAMES OATWAY & ALON SKUY
[BR]OTHER
borborygmus
ZIYANA LATEGAN
Invention as Ideological Reproduction
LETTA MBULU
Not Yet Uhuru (Amakhandela)
TUMI MOGOROSI
De
ANDREA LEIGH FARNHAM
A bad relationship with the truth
DAVID MWAMBARI
On the Social Impact of Reading Radical Literature
PHIWOKAZI QOZA
Choreographies of Protest Performance: 2. Somatic Communication and the experience of intensity
DUANE JETHRO
Shangaan Electro: shaping desire @180bpm
CLARE LOVEDAY
WOMEN IN MUSIC.co.za - A website for South African women music practitioners
ERNIE LARSEN
Escape Routes
LIZ SAVAGE
Myanmar: a post-colonial tale of fear, treachery and hope
STEVEN CRAIG HICKMAN
Weird Literature as Speculative Philosophy
frictions
VANGILE GANTSHO
"we have forgotten who we are"
JETHRO LOUW & GARTH ERASMUS
21st Century Khoisan Man
LUCY VALERIE GRAHAM
Seven settler poems
SERGIO HENRY BEN
Some Monday shit.
RIAAN OPPELT
The Boys in the Box
TRICIA WARDEN
Five Poems Two Songs and a Video
JOHAN VAN WYK
Man Bitch
ARI SITAS, GEORGE & DEBBIE MARI
Cold was the ground - A Requiem for Elephants Too**
ARI SITAS, GEORGE & DEBBIE MARI
Cold Was The Ground- A Requiem For Elephants Too* Part I
ARI SITAS, GEORGE & DEBBIE MARI
Cold was the ground - A Requiem for Elephants Too** Part II
claque
JANNOUS NKULULEKO AUKEMA
Something of Inexplicable Value: A Resurrection
FRANK MEINTJIES
From collective to corrective: South African poems of decolonisation
KNEO MOKGOPA
“This Bloodless Wound” - A Review of Kirsty Steinberg’s Confrontation
RONELDA S. KAMFER
Avoiding the obvious routes: Jolyn Phillips deconstructs the legend of Bientang
UNATHI SLASHA
Partaking in the Séance: Preliminary Remarks on Lesego Rampolokeng’s Bird-Monk Seding
WAMUWI MBAO
There are no barbarians: Michel Leiris - more phantom than Africa
ESTHER MARIE PAUW
Jess Auerbach's From Water to Wine: Becoming Middle Class in Angola
MBE MBHELE
Not nearly a review of Ontologicial Terror: Blackness, Nihilism, and Emancipation by Calvin L. Warren
MBALI KGAME
Mphutlane wa Bofelo's Transitions: from Post-Colonial Illusions to Decoloniality What went wrong and what now?
MALAIKA WA AZANIA
Why Do I Scream at God for the Rape of Babies?
TOAST COETZER
Country Conquerors: van blikkiesband tot firebrands – on the Social Impact of Rastafari
GEORGE KING
One Disc, Two Composers, Four Works: When Seven Defines the Music of Friendship
ERNESTO GARCIA MARQUES
Live Jimi Presley: white noise a la Neubauten
ekaya
DEREK DAVEY
Dodging the sjambok
CHRISTINE LUCIA
A Reflection on the Mohapeloa Edition
THEMBELA VOKWANA
Towards a Decolonial South African Musicology: Reflections on Christine Lucia’s Michael Mosoeu Moerane Scholarly Edition.
ANKE FROEHLICH & INGE ENGELBRECHT
Genadendal Music Collections Catalogue: an introduction
off the record
PETER DELPEUT
The Forgotten Evil pilot project digital version
PETER DELPEUT
The Forgotten Evil pilot chapter 5 charisma
PETER DELPEUT
The Forgotten Evil pilot chapter 9 The Forest of Astravas
PETER DELPEUT
The Forgotten Evil, pilot chapter 11 character
LOUIS CHUDE-SOKEI
When Echoes Return: roots, diaspora and possible Africas (a eulogy)
VEIT ERLMANN
The Disappearance of Otherness: ‘Africa Civilised, Africa Uncivilised’: Local Culture, World System and South African Music
IGNATIA MADALANE
From Paul to Penny: The Emergence and Development of Tsonga Disco (1985-1990s)
NIKLAS ZIMMER
Basil Breakey: Jazz contacts, Jazz culture.
OLIVIER LEDURE
Ted Joans
SAM MATHE
NDIKHO DOUGLAS XABA
CAN THEMBA
The Bottom of the Bottle
DANFORD TAFADZWA CHIBVONGODZE
Jonah Sithole’s Sabhuku
feedback
ALEXANDRA DODD
herri: a plenitude of material, ideas, sounds and voices
FACEBOOK FEEDBACK
Social Media Responses to herri issues 1 - 4
the selektah
ZARA JULIUS
A call for renewed internationalism: A sonic liberation front
PhD
DECENTERING THE ARCHIVE:
Visual Fabrications of Sonic Memories
NICOLA DEANE
FRAGMENTS By Way of Introduction
NICOLA DEANE
PASSAGE I: SURFACES A Surface Reading of the DOMUS Archive: framing space & time
NICOLA DEANE
PASSAGE II: INVAGINATION A Subjective Fold of the DOMUS Archive: a pocket of one’s own
NICOLA DEANE
PASSAGE III: NOISE A Hauntological Reconstruction of the DOMUS Archive: the noise remains
NICOLA DEANE
PASSAGE IV: THE MASK (De)Scripting the DOMUS Archive as Faceless Protagonist
NICOLA DEANE
ELISABETH UNMASKED by Nicola Deane
NICOLA DEANE
CONCLUSION Irresolution
hotlynx
shopping
SHOP
Purchase or listen
KOLEKA PUTUMA
Black Girl Live
contributors
the back page
MIKE VAN GRAAN
Covid-19 and its Existential Challenge to Theatre
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    #05
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ERNESTO GARCIA MARQUES

Live Jimi Presley: white noise a la Neubauten

Live Jimi Presley were the most dynamic live white band in South Africa in the early ’90’s but they only had a few tracks on compilation albums. The band started out in Grahamstown as Vader Jakob before relocating to Johannesburg and evolving into Manhole in the early ’90’s. Their sound combined elements of punk, post-punk and industrial and one of their greatest influences was Einsturzende Neubauten from Germany.

Live Jimi Presley were essentially a socio-political performance band who used metal percussion like car springs and angle grinders and they had a fire eater who blew balls of flame above the audience’s heads.

In 2016 Live Jimi Presley finally released their eponymous CD themselves and it contains many of their best and most loved songs.

The CD opens with Assumptions with its post-punk-meets-industrial sound which features some nice melodic guitar & keyboards and a few samples. Calculus and Nightware Max remind me of the House Of Love though both tracks get a little heavier in their refrains. Standout tracks include: One Day at a Time which brings Simple Minds to mind, Hog in Armour, Mobile Home (with Juliana Venter)

and live favourite, 69 at Half Past 10. (All 4 of these tracks would have been hit singles if we had an alternative chart in South Africa.). 

Song A has a strong dub feel and reminds me of The Fall and Neu; part post punk, part Kraut Rock. 

Unger is angry punk/industrial with frantic singing and thrashing guitar and percussion. Zombie is also quite punky with its bass driven beat.

Vorhaut zur Freiheid is pure Einsturzende Neubauten industrial music, frantic and urgent with strong political commentary about fighting for freedom. 

Getting back to 69 at Half Past 10, the final track on the CD, it combines all the best elements of Live Jimi Presley and more. The track has a dub beat, throbbing bass and a pseudo sample of the Beach Boys’ Barbara Ann in the refrain, courtesy of special guest Warrick Sony (Kalahari Surfers). The songs starts off with a melodic guitar riff before exploding into a freak-out of note. This includes a Shadow-esqe guitar solo and so much more. Listen to this great track here…

In summing up, this is a classy album by one of south Africa’s greatest live whte bands and their sound translates well to CD. Despite being an industrial band for the most part all Live Jimi Presley songs have strong melody lines and they have a pop sensibility that sets them apart from other bands in that genre. 

The CD can be ordered from the Live Jimi Presley Facebook group here…

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GEORGE KING
ekaya
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