Next month one of South Africa’s most notable cultural exports, Die Antwoord, will embark on a major tour of Europe and North America. In June, the same month that Dior co-opted a Die Antwoord anthem to launch a new perfume, ‘Addict’, the Zef duo released their third studio album, ‘Donker Mag’. Profane, disruptive and controversial, perhaps the charm of Die Antwoord is that it has embarked on a very conventional rebellion in soothing middle class anxieties in an increasingly violent and turbulent modern world.
“It’s such a fine line between stupid and clever,” David St Hubbins, This is Spinal Tap.
A long, long time ago in a galaxy far, far away, long before the collapse of the Berlin wall, Apartheid and global capital markets, South Africa used to export a different kind of music. It was, in many ways, an age of innocence (well, it never really was, but bear with us). In an apparently less complicated, binary universe, it was the likes of Ladysmith Black Mambazo, Johnny Clegg and Savuka, Hugh Masekela, Ray Phiri and others that somehow came to represent the collective heart, soul and psyche of the country.
The music then was still distinctive….
Source : Daily Maverick