Music Interview BLK JKS African allsorts Far out: BLK JKS feel independent from Western rock influenced by African roots e dreamed of playing our music around the world. And for the past year, we havent stopped. I think this is a case of be careful what you wish for! This is a good-humoured quip from guitarist Mpumi Mcata, one quarter of artful Johannesburg rockers BLK JKS (pronounced black jacks). The band Mcata, vocalist Lindani Buthelezi, drummer Tshepang Ramoba and bassist Molefi Makananise have spent 2009 touring incessantly. Following their well- received EP Mystery, BLK JKS debut album, After Robots, gives an even broader sense of where these South African talents are coming from. Ramoba does note some international variations in their audiences: Playing in South Africa feels like a party, he says. In the UK, it seems more of a personal reaction. When we played in Newcastle, everybody was staring at the stage not even going to the bar, just concentrating on the music. Not moving at all seems a bit of a waste, because theres an intensely danceable energy to BLK JKS numbers such as Lakeside. Their albums rich and raw musical scope entwines psychedelic rocknroll, hi-life rhythms, folklore (the track Tselane is influenced by their grandmothers storytelling), jazzy tempo shifts and vocal harmonies theres a lot going on but it works to invigorating effect. And on different levels; they blend surreal and everyday themes, peppering their lyrics with Johannesburg slang. Even their science-fictional album title actually refers to a road direction (robots being local jargon for traffic lights). When we use certain words, we know that theyll be understood in South Africa but its interesting when were abroad. Its a bit trippy, you start to lose sense of what youre saying, laughs Makananise. The music we make is very honest to the place were from. But who knows what W happens next are we gonna write an album about Hong Kong? BLK JKS imagery isnt deliberately polemical (its more imaginatively far-out than anything), yet they argue that theyve become politicised by default in many places. In America, just being on stage playing rock seems a statement, says Mcata. It feels like theres more need for dialogue around racial issues in the US, which is interesting because we already know that the freedom declared in courts doesnt always translate into real life. Theres always energy around what we do but were not gonna bling or follow industry models. Mcata and Buthelezi grew up together, messing around with music and football. They were later introduced to Ramoba and Makananise, who had a more focused jazz/roots background and BLK JKS debut set was part gig, part art installation in an abandoned jail in Jamestown. It was June 16, 2004, recalls Mcata. Wed only known each other for three days we got to meet properly after that gig. The first sign of the bands success was when they could give up their day jobs. Another was when their fanbase began to extend to international artists, such as US DJ/producer Diplo and Brandon Curtis of indie rockers Secret Machines, who produced After Robots in New York last winter. It was great working with Brandon, enthuses Buthelezi. Everything felt fresh, kinetic. It was also nice for four African men to be in the American snow, he adds. You soon realise why people have snowball fights. BLK JKS feel independent of the latest generation of Western rockers, such as Vampire Weekend or Foals, whove taken inspiration from African roots, but that doesnt make it any easier to define their own musical style, as Mcata explains: I feel as close to Sonic Youth as the work of John Coltrane or South African jazz musician Philip Tabane. They all have the same elements something ancient and rooted in the universe, he says. South Africa has a very cross-cultural vibe but its also left to its own devices in Johannesburg, you really have to find your own way musically. There are a lot of bands and underground culture happening right now and its a beautiful thing. Its not a scene, but we are all brothers and were taking up arms... or guitars, or drums, or whatever. After Robots (Secretly Canadian) is out now In America, just being on stage playing rock seems a statement. It feels like theres more need for dialogue around racial issues in the US The South African rock nrollers tell Arwa Haider how their musics going down in other countries When Dylan Moran takes the stage its usually with the rabbit-in-the-headlights look of an alcoholic hobo whos been dragged through a hedge backwards. Mind you, this unkempt, booze-swigging persona is one that has served the Navan-born comedian well: his turn as wine- swigging curmudgeon Bernard Black in Channel 4 sitcom Black Books ensured him cult status, and his stand-up persona (just-out-of-bed grouchy but with a grabbag of killer observations) is hardly a million miles away. Hell, you half expect him to call Bill Baileys long suffering assistant Manny on stage at any moment merely to clout him over the head with a copy of Great Expectations. For all Morans intelligence, his most endearing trait is self- deprecation and despite his massive vocabulary you never feel like youre being battered across the noggin with a thesaurus. Hes frequently opinionated (as his anti-smoking ban rant in 2004 testifies) but he never forgets its the punchline that should always takes precedence. If you missed last weeks shows at Vicar Street, beg, borrow or steal tickets for one of the four remaining. Daragh Reddin Tonight, tomorrow, Fri & Sat, Vicar Street, 58-59 Thomas Street D8, 8.30pm (returns only). Tel: 0818 719 300. www.vicarstreet.ie LAST CHANCE TO SEE Dylan Moran The Cribs In Town Tonight The Yorkshire lads have toned down their trademark lo-fi rabble- rousing since the surprise addition of ex-Smiths guitarist Johnny Marr. But live, they still know how to party. Anti-folk singer-songwriter Adam Green supports Tonight, The Academy, 57 Middle Abbey St D1, 7pm, 22. Tel: 0818 719 300. www.myspace.com/thecribs Rich Hall Deadpan American comedian and Grammy winner, Hall presents himself and his redneck jailbird alter-ego Otis Lee Crenshaw as special guest in this double-bill of sorts. Part of the Bulmers International Comedy Festival Tonight, Olympia Theatre, 72 Dame Street D2, 8pm, 23 to 30. Tel: 0818 719 300. www.bulmerscomedy.ie A Passion For Freedom Solo installation by young artist Eve Parnell which invites viewers to reconsider their own presence, scale and spatial boundaries, thanks to a white muslin drape billowing evocatively by a tall light- infused window Until Oct 4, Pearse Museum, St Endas Park, Grange Road, Rathfarnham, Co. Dublin, Mon to Sat 9.30am to 5.30pm, Sun 10.30am to 5.30pm, free. Tel: (01) 493 4208 metro Arts & Entertainment life Book Now Yusuf The artist formerly known as Cat Stevens is not only embarking on his first tour in 33 years but also making his Irish debut. Aptly titled Guess Ill Take My Time Tour, it will see the artist revisit his best-loved hit songs including Wild World, First Cut Is The Deepest and Father And Son, as well as debut songs from his forthcoming stage musical, Moonshadow. Infamously swapping his rocknroll trappings for Islam, Yusuf rarely makes public appearances so Ticketmaster at the ready... now! Nov 15, The O2, East Link Bridge, North Wall Quay D1, 7.30pm, 76.20 to 93.70. Tel: 0818 719 300. www.catstevens.com 12 metrolife Monday, September 21, 2009 THE HOTTEST TICKETS IN TOWN We have two pairs of tickets to see THE CRIBS tonight, The Academy, 7pm For a chance to win, e-mail your answer to the question below to life@metroireland. ie by noon today with Hot Tickets in the subject line. With your answer please include your name, address and a number where you can be contacted between 1pm and 3pm. Strictly one entry per person; entrants must be age 18+. Q. In which TV programme do celebrities show viewers round their homes? A. MTV Cribs B. Nationwide The winners of yesterdays tickets to see DJ Yoda are: Aoife Grey & Kerri-Ann Pattison index.html2.html3.html4.html5.html6.html7.html8.html9.html10.html11.html12.html13.html14.html15.html16.html17.html18.html19.html20.html21.html22.html23.html