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Die Antwoord, Spoek Mathambo


by Brandon Edmonds / 24.03.2011

Remember Ninja’s dick in slow motion in the Dark Side of the Moon shorts? That worked because it was something we haven’t seen before. “Something we haven’t seen before” is a cutlass hanging over the head of any artist pushing novelty. And that’s all artists ever push (novelty or nostalgia): hey even Johnny Cash was doing U2 covers on his death bed.

What we have here is The Terrible Law of Piero Manzoni. The guy who canned his own shit. Merda d’astista. 90 tins were made (actually filled with plaster) in 1961 to be sold for their weight in gold. Manzoni’s Law is basically yeah so what’s next, Piero? You can’t go on shitting forever.

Piero Manzoni Artist Shit

Many artists do of course. They go on canning their shit and sending it out into the world long after it stops, well, mattering. But there’s a way out of the novelty trap – substance. Artists long for it. Anne Hathaway got naked in Love and Other Drugs because of it. Fela Kuti reeked of it. Substance is the universal stuff that reaches you no matter what. Shakespeare works in Nepal as readily as Beirut. Van Gogh can put anyone with eyes to see under the spell of that starry night. Chaplin still cracks up 6 year olds. Universally relatable substance – the opposite of shit.

So no surprise then that Ninja and Yo-landi hanker for substance in Harmony Korine’s new short-film collaboration Umshini-Wam.

The blatant Spoek Mathambo steal.

Spoek is a far more substantive and exciting artist. The Die Antwoord crib offers us rare insight into the pressure they must be under to outrun the “novelty act” noose. “It’s time to step up our game my blaar. It’s time to get the respect we deserve,” is the first thing out of Yo-Landi’s mouth. Whatever narrative drive the film ever achieves is out of this desire for credibility.

But Korine – who directed staunchly indie flicks like Gummo and Trash Humpers – has been feeding at the trough of the post-modern “decline of symbolic efficiency” for too many years to bother making films that actually “mean” something; so the premise never gets interesting. Ninja and Yo-landi play Beckettian wastrels rolling around in wheelchairs in Pikachu and Gloomy bear pajamas firing uzi’s in a depopulated American Nowhere. Nothing registers or works. No image, aspect or moment stays with you. The film is vapid, indulgent and dreadful.

Ninja, Yo-Landi Visser, Die Antwoord

Visser simulates an excruciating crying jag at one point. You get to see how wildly misguided David Fincher was considering her for the Dragon Tattoo re-make. She has the range of an unplugged radar. Ninja plays dead a lot which was the smart move here. At one point they risibly murder an incongruous Afrikaans patriarch, straight of Bitterkomix central casting, who tells them, “you’re a waste of white skin.” This kind of puerile race baiting finally reveals the emptiness of Die Antwoord. They have nothing to offer beyond raucous live shows and ‘meme-friendly visuals’. There’s nothing like an analysis of contemporary South Africa going on. No substance.

As Ninja puts it, “We’re basically just exporting our South African experience. South Africa is like undiscovered real estate.” Clearly South African experience is what guarantees the duo substance. It’s what lifts them free of the novelty trap and differentiates them from the other acts on their mega label Interscope. But “undiscovered real estate” sounds suspiciously like the Empty Land fallacy in SA history. The lie that Van Riebeeck landed here in 16 whatever only to discover an empty Eden ripe for the taking. Indigenous social life was conveniently left out of the narrative. Die Antwoord perform a similar kind of silencing act by fetishizing indigenous extremes, swallowing local aspects of culture whole and converting them into the amped up currency of their international brand – zef.

Hence the Tokoloshe. “He’s really terrifying and comes out at night and he’s got a penis as big as a horse’s. And African ladies explained to us that if they’re having a wet dream, it actually means the Tokoloshe is boning them in their sleep.” This is the shit Ninja’s telling Pitchfork. There’s all that purloined gangsta imagery. A Xhosa teen’s personal defiance of circumcision rituals becomes a WTF “dark continent” penis-frenzy in the NSFW Evil Boy video. “We like to absorb all the different elements of South Africa… we’re like sponges.”

In international interviews, Ninja never stops detailing the outré excesses of Mzansi. “South Africa’s like the wild west. The PC-version people try and promote is this image of South Africa as a rainbow nation and make it all pretty and stuff. But it’s actually like this fokked-up, kind of broken fruit salad.” Die Antwoord re-packages local culture for a bemused international audience. It’s Saartjie Baartman with Diplo beats. And they’re the first to admit it. “We are constantly trying to look at different ways of how we can create and recreate South African music to be consumed abroad, so we always combine what the international market likes with the local sound.” And good luck to them.

Only thing is there’s a better way of taking exotic local “strangeness” out for a walk in the world. One that seems infinitely more promising, valid and rewarding – there’s Spoek Mathambo’s “darkwave township house” take on Joy Division’s “She’s Lost Control”. There is no strained reaching for shock effect here. No confused rush of imagery. Spoek is in control. Using his cosmopolitan influences to deepen his sound while pushing local culture forward. Die Antwoord already seems like a dead end. They threaten to quit after five CDs. They’ll barely make it to three.

45   5
  1. raywinstone says:

    fucking brilliant. wow.

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  2. hotnot says:

    nee wat hul is albei kak

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  3. Anonymous says:

    Two poodles barking and fucking the rose bush. Stupid boring cunts.

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  4. Anonymous says:

    Here’s my question. Does anyone in the townships listen to Spoek? “darkwave township house”, you say. But it sounds exoticised for the white man to me

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  5. @ anonymous says:

    yes, we do listen to spoek in the townships, but i feel like your question was exoticised (which is not a real word) for the white man to me. 😉

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  6. ling-ling says:

    Die Antword remind me that strange Japanese culture. I’m glad they are around. You cant deny the window they opened up for artists in this country., and the speed at which it was done. Personally I’m really happy they have the balls they have. I dont always get them or like what they are doing, but I fucking respect them.

    Spoek is shit hot. I’m in lust. I’m get him and what he is doing.

    I’m not sure why “we” are comparing these two artists, should we put every artist up against another, or is just because they are “local”.

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  7. Anms says:

    “township house” has become a genre in itself…. its like saying do white people listen to rap ?…

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  8. Anonymous says:

    yes. so true.

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  9. C. Moon says:

    Nothing wrong with a one-trick-pony, enjoy it, consume it, move on. To try legitamise it, or give it any relevance at all is a sure shot in the foot.
    Oh yeah, and Spoek’s ‘Control’ and its pairing/contrast with traditional rite/myth is so spot on its scary!

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  10. D.A.F. says:

    Die Antwoord don’t know where to stop. They had it right for the first 2 minutes of their interview/music video breakout, but then it turned to over the top vulgar. We went from being entertained by novelty and funk to have our faces rubbed in shit. Evil Boy was an extension of that – it stopped being cool or funny, and just became bad taste being easier than creativity.

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  11. Brian Green says:

    The problem with Spoek is (and a host of other South African musicians) is his use of the American accent.

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  12. sarah_j_fell says:

    awesome piece 🙂

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  13. Isis Mongoose says:

    Excellent! I say that in my best Mr Burs voice. When Johnny Cash repackaged U2, Nine Inch Nails and even friggin Neil Diamond yes, he was brimming with originality. It was country music, they were covers, but nobody had seen anything quite like it. Antwoord, I can’t say it better, are horribly “meme friendly”. This isn’t Dylan going electric guys. It’s somebody doing exactly what everyone wants. I can’t resent them for being successful. That’s clearly what they’re after. But anyone who actually thinks they’re original, creative or actually good in any kind of lasting way… is wrong. I’m sure they have 5 albums in them. Probably more. The joke is on us.

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  14. Play from your fucking heart! says:

    Waddy Jones and Yolandi Visser are two of the most inventive and creative South African artists that I have come across. Waddy has been feverishly innovating within the local scene for a decade now. Their work is hit and miss, but mostly it lands home.

    Whatever they are, they are a product of their South African environment. I think Max Normal.TV’s “Good Morning South Africa” album perfectly illustrates this. It is 100% a product of Cape Town. It succinctly captures the foibles of the Coloured population, the English population and the Afrikaans population. It then throws them all together to tell great stories, and it entertains while highlighting real issues like tik (speed) abuse on the Cape Flats. It has real heart and is totally a product of its environment. It only helps that “Tik, Tik, Tik” [http://www.youtube.com/watch?v=xJn5yQwI17s] has one of the fattest baselines ever created (courtesy of one of our most prolific local psy-trance DJs) 🙂

    I personally marvel at, and love, the strange directions they take things which are so familiar to me in. I am so sick of luke-warm artists that tow the line. That don’t have anything meaningful to sing about. I want artists that expose the hypocracy of our society, that rail against their own nature and that express their anger with the way reality is. The SA music scene has many competent musicians, but it lacks provocative artists that push our buttons and prompt articles like this. Where are our angry Sid Viciouses, our enfant terrible Jim Morrisons, our tortured Kurt Cobain’s or our militaristic Tom Morellos? Thank god for Fokofpolisiekar and Koos Kombuis, but we need more artists to take up the torches lit by these arists who make music because they need to evacuate their souls. This is also partly why I love Max Normal/The Constructus Corporation/Max Normal.TV/Die Antwoord’s divisive nature.

    I look forward to them continuing to push our buttons and explore our self-imposed limits. If the novelty wears off, I like forward to the next evolution. I also don’t care if their 15 minutes of international fame runs its course. I would much rather have their bursting energy and creativity all to myself. Selfish, I know, but that way they can at least keep on doing what they have been doing for a decade now without the moulding pressure of an international audience hankering after their uniqueness, while forcing them towards the status quo at the same time.

    Spoek Mathambo is great (I own his CD), but he doesn’t even live in South Africa anymore (he’s based in Sweden) and his music is as informed by international influences as local ones, so you can’t say he is more representative of South African culture, and thus, more “valid” as an artist representing our country. Finally, his music is not made for listening by people in townships. His awesome heavy, dirty beats appeal to middle-class kids who have grown up in clubs around the world. If you want to hear the true sound of township electro, you need to listen to something like Shangaan Electro, which is a far cry (and a far more aquired taste) from Spoek Mathambo or Die Antwoord’s stuff. Funnily enough though, Shangaan Electro is also making waves overseas (I first heard about it from a Norwegian friend). At what point do we get to start tearing it to shreds for not being authentic, long-lasting and representative enough?

    More info on Shangaan Electro:

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  15. Mugabe says:

    What you fail to realise is they aren’t in a popularity contest and while the rest of us were wiping the shit out of our eyes they were selling out shows all over Europe. South Africans don’t “get” Die Antwoord. We are to narrow-minded and to busy sucking Kahns cock. Europe fortunetly does & I don’t see them fading into the distance just because of a few fucking local idiots. Love em, or hate em, they are what they are.

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  16. Sun Boy says:

    What a hater.

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  17. Sarah Dee says:

    Nice piece, Master E.

    Still, I experienced a kind of pathetic melancholy watching the film, on a level above its diegesis, and I was surprised to be moved by it, given that I mostly oscillate between feeling mildly amused and quite irritated by both Korine and Die Antwoord. It all just seemed so very desparate. But it affected me somehow – the contrived, but quite sweet little moments of intimacy between Ninja and Yolandi. Given who they are, who Korine is, and the nature of their rise to fame, it struck a kind of strangely harmonic chord of tragedy, made me feel some affectionate grief for the world.

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  18. Garry says:

    Never thought I’d agree with someone called “Mugabe”, but yes, I agree with you. They are literally making millions overseas. Dollars, most probably. South African “fans” are very fickle. Look at how they support anything, be it local artist, rugby, cricket, writers, politicians or companies.

    Overseas, Die Antwoord gets treated like overseas bands/acts are supposed to be treated.

    Does it matter wheter they make 5 or 10 albums? Their movie careers are in fact well on track, what with them collaborating with Sharlto Copley and Neill Blomkamp on new stuff. Whether you think they are great actors/directors is besides the point.

    Lets in fact say, Die Antwoord only walk away with $3mil dollars (a very low amount in Hollywood/USA entertainers standards – they probably have shitloads more already) at the end of their next album and US tour. They give up. They come home and live in Joburg or Cape Town. Imagine Mahala’s “we told you so” story – Die Antwoord fades into obscurity after 3 years.

    If you had nothing, R20mil is a shitload of money to make in three years while other people struggle away at R2 a word, trying to impress a small interweb fanboy group of pseudo-intellectual.

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  19. Happy says:

    This is the first time I ever heard of Spoek Mathambo, thanks to your article, thanks to Die Antwoord. Good or bad, they’re stirring shit up.

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  20. mega-douche says:

    I’m with D.A.F on this one. Die Antwoord is crass and lame. Go away already! It coulda been so lekker… DAF said it with his faces rubbed in shit analogy..

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  21. Isis Mongoose says:

    @Mugabe. Selling out shows in Europe isn’t any measure of success. MJ always sold out. But you probably really like him too. Some of us have taste. Maybe it was just you who was wiping excrement out of your eyes. Sham man… Were you following Antwoord around Europe or just keeping it extra local and going to Steve Hofmeyr shows? Who’s Kahn? Did you enjoy giving him head.

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  22. Garry says:

    @Isis Mogoose – Selling out show across Europe and the USA, I would say, is a measure of success. Yes, MJ always sold out. You might faintly remember that he was referred to as the “King of Pop”? Again, you don’t have to like the kiddie fiddler, but you can’t deny the levels of success he reached. It is there in numbers, on black & white.

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  23. sarah_j_fell says:

    Nicely put, Garry.

    Happy, what hole have you been living in?

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  24. jb says:

    ah, die aantword, making south africans look like complete and utter cunts since 2009, or whenever. all to make some money. the bad rap (c wut i did thar) these 2 fucking retards are giving us is unbelievable. and then we get the guy they ripped off (jack parow) keepin it real yo. which is what rap/hiphop used to be about. now its just even worse pop music made by soulless cretins for braindead cretins like some who have commented in here.

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  25. Grethe Koen says:

    I think acts like Spoeks are going to gain ground because of Die Antwoord, not despite them. Die Antwoord has piqued international curiosity and, hopefully, has paved the way for other interesting, talented artists like Spoeks to follow.

    I also fear that this might be typical case of an artist being taken “more seriously” when he/she is still considered underground and relatively unknown. That is, because Spoeks is not as overexposed as Die Antwoord, he is considered to have more substance and artistic integrity.

    Another user, Mugabe (!!!!), said that “this is not a popularity contest for them.”
    I think what he was trying to get at is that Die Antwoord are not striving for some accolade of “having substance.” They are playing on their image with “Umshini Wam,” and giving their fans more of what they have come to expect.

    Moreover, Wadddy Jones has substance outside of “Ninja.” He doesn’t need to strive for it through Die Antwoord.

    I love Spoeks, and I love Die Antwoord. I feel that both of them are taking South African artistry in an exciting and much needed new direction. I am extremely happy to sit back and watch what they pull out next, and proud that they hail from our “fucked-up fruit salad” of a country.

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  26. sarah_j_fell says:

    Actually Spoek was big overseas, particularly France, way before he was here…

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  27. Garry says:

    @JB – you perceive them to give give SA a bad name. Strangely enough, a lot of people in South Africa seems to think so. Overseas, they are loved and getting people interested in South Africa. People know what South Africa is like. They can use their own brains and the interwebs to find stuff out. What exactly about them give us a bad name? Their vulgar language? You just used word like “utter cunts”, “fucking retards”. What makes you different? The fact that you wear ironed clothes from Makro?

    Things that make people form overseas disinterested in SA: crime, corruption. If anything, Die Antwoord is a mild distraction from that.

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  28. Calatz says:

    This article shouldn’t be disposable (although it might stand out for maybe a week or perhaps a month).

    Write a book Brandon.

    I agree with what you say, but Die Antwoord have done a lot. We need shit like that.

    But it doesn’t mean they are good.

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  29. Grethe Koen says:

    Oh and PS:

    JB: “And then we get the guy they ripped off (jack parow) keepin it real yo. which is what rap/hiphop used to be about. now its just even worse pop music made by soulless cretins for braindead cretins like some who have commented in here.”

    Die Antwoord were right there when Jack Parrow started, even featuring him in songs like “Doosdronk.” And Parrow is more gimmicky, more commercialized, more tailored-to-suit the new wave of zef afrikaans music lovers than Die Antwoord ever were.

    You know what is giving South Africans a bad rap? Steve Hofmeyer, Nicholas Louw,Heinz fucking Winkler…. NOT Die Antwoord.

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  30. Jamie says:

    JB, Jack Parow is largely perceived as a comedy act and I’m afraid he sold out. He is even willing to bring out a “clean” version of his album in order to appeal to more Afrikaans people – what kind of real rapper would do that? He even worked with conservative mainstream Afrikaans organizations like the ATKV.

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  31. Dplanet says:

    Interesting and well written article. I wish there was more music journalism of this quality in SA! That’s not to say that I necessarily agree with everything that was written.

    I do find it strange that we feel the need to read so much into popular music – and expect so much from our artists. Both Spoek and Die Antwoord make dance music, which is a tried and tested route to popular success. However, as a medium, it doesn’t really lend itself to a particularly deep discourse on anything much.

    Music that does deal with serious issues doesn’t get that much attention because, by its very nature, it doesn’t tend to be presented in an easily-accessible format. Critics seem to shy away from it because it doesn’t have the popular ‘entertainment’ factor required to be taken seriously – which is ironic.

    Surely we should be seeing both Spoek and Die Antwoord’s music as harmless entertainment that draws on (and exploits) South African culture in different ways.

    I wish them both every success in what they’re doing. It’s very cool to see South African artists doing big things in the world.

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  32. Silus Murdoc says:

    “Originality is the art of concealing your sources”

    in this case:


    they’re both the fukkin same, one just employs subtly to a greater affect and the other just doesnt realLy give a kak what you think.

    PS. neither of them own “Umshini-Wam.” when is Zuma’s album coming out? and to be honest
    we should be proud of them both -not picking sides.

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  33. queen says:

    i dig Die Antwoord, but I must say that that Korine movie was a bloody dissapontment.
    Thanks for Spoek, will be checking him out x

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  34. Ninjambo says:

    This is so up its own overfed ass its scary. References to Beckett perform the same function here as the tits on pg3 of Die Son. And the Spoek M reference is merely parading personal – if undeveloped – taste as you know, something educated, something actually thought out. Insatead, it reduces both to a crass + fabricated Beatles-Blur-Stones-Oasis my band’s better than your band contest. It’s the intellectual equivalent of bemoaning the lack of citrus in a banana.

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  35. Chad says:

    If it’s crap, it’s crap.

    Spoek is good.
    Die Antwoord is crap.

    Anyone can tell this.

    Now shaddup everyone.

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  36. Sarah Dee says:

    I thought it was the ANC who owns all the struggle songs?

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  37. Sarah Dee says:


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  38. Chad says:


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  39. Sarah Dee says:

    or pwned.

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  40. will says:

    yuuss, die antwoord is so whack. The ous overseas don’t “get” it!!! Are you joking? They can’t understand a single word coming out of Ninja or Yolandi’s mouth!

    I’m so glad people are finally catching on. Jesus.

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  41. MM says:

    oh how ironic! a cousin in iceland has just posted a youtube video of die antwoord ‘rich bitch’ on facebook – clearly their popularity is growing!

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  42. Johnny says:

    Go and have a look on Die Antwoord’s Facebook page what their 225 000 Facebook fans from all over the world have to say about them. Then you’ll realize that what a handful of arty trendies and pseudo-intellectuals have to say here is quite irrelevant.

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  43. Mick says:

    Ninja Owns it and YoLandi bones it. Mr. Jones is a monster of note. Die Antwoord is just his ‘latest’ party trick, he’s just amassing the means to his nexx time wobble.

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  44. Anonymous says:

    Spoek=cheap video and average song.

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  45. Andy says:

    “References to Beckett perform the same function here as the tits on pg3 of Die Son.” Awesome Ninjambo… if only it was true!

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  46. mos deft says:

    garry you twerp the next thing you’ll be telling us madonna is worth listening to coz she’s soooo popular. as for, play from the heart! if you’re not their publicist you’re the lamest mother fucker alive. die antwoord – don’t believe the hype.
    “In modern life nothing produces such an effect as a good platitude. It makes the whole world kin. “

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  47. YsterHart says:

    Marry me Dplanet

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  48. Mugabe says:

    @Isis Mongoose.

    Now. Read this slowly so it can sink into your fucking head. When you are a musician especially one from little old SA, selling out shows in Europe, USA & SA – IS a measure of success! Hundreds of better musicians from this country have come and gone without ever leaving fucking joburg. Pull your head out your ass doos.

    I don’t like the music but they are making loot and having a big fat jol and you are sitting on the Internet trolling from your tower saying they aren’t successful because “you don’t like them”.

    What a doos.

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  49. Isis Mongoose says:

    @Mugabe. I’m sorry man but we are on different wavelengths. You’re talking artistic success (how much money an artist makes) and I’m talking aesthetics. I don’t care how successful an artist is, in whether or not I respect them. And I’m very happy sitting on this side of that fence.

    Elvis was booed. Dylan was booed. I can go on with the Van Gough, Nirvana… examples but I take it you get the point. I’ll grant you this, I probably wouldn’t have heard any of them if they weren’t successful. But those that I do hear, the ones you’re lauding, the one’s that don’t actually have any talent but have made it… are you saying I should respect them just because they’ve pulled the wool over everyones eyes? I completely despise them, as artists (not as people or success stories) because they detract from real artists with integrity and talent who don’t make it.

    Antwoord are successful, I’m not disagreeing (and nor are you). You don’t even like them (and nor do I). We just have different values. Yours being money/success and mine being talent. If I’ve misread anything you’ve argued for so far, my apologies.

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  50. mos deft says:

    @ mugabe – nostalgie de la boue – when you gonna wake up

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  51. brutus says:

    isis and mos deft

    you are the only people who make sense.

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  52. Isis Mongoose says:

    et tu brute

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  53. Even Thugs Need Hugs says:

    Couldn’t give two shakes of a dead dog’s cock for Die Antwoord.

    Spoek, on the other hand. Hell, I’d crawl through a mile of broken Die Antwoord CD’s to listen to ‘Control’. That song is fucking razorsharp.

    Great piece, Mr Edmonds.

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  54. Alibaba says:

    Pop music should be popular. Look at the views at the bottom of Spoek’s videos. That should give you a clue. It may have substance and whatever, but very few people de fuck likes it. Die Antwoord, on the other hand…

    And if they are a three hit wonder, so fucking what? They were three fabulous hits…

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  55. sleaze says:

    I think there might be an Answer after all


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  56. Alibaba says:

    So I went to check out all Spoek’s stuff. I’m like the 10th person on average who look at his videos. Sure, the Die Antwoord’s Umshini Wam is pretty kak, but that is surely a side project or whatever. Musically Spoek is not even close to the same kind of energy and focus as Waddy. You gotta be kidding me.

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  57. […] because of this video. It’s a damn fine read even if mine is a counter-argument. Read it HERE for a bit of yin and yang in your day.Your email: If you enjoyed this post, make sure you […]

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  58. wickedmike says:

    My response to Brandon’s article got so damn long that i made it into a blog post instead – http://www.wickedmike.com/die-antwoord-gets-even-weirder.

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  59. Johan says:

    I agree, much like Pieter Hugo appropriates images of AFrica for a Western audience lapping up that “dark, savage, continent” spiel, he he even made a video for Spoek and I didn’t see Mahala dissing that

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  60. Mugabe says:

    @Isis Mongoose – All good. I like a civil response. It makes the nerd rage go away. lol. I hear you and I agree with you.

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  61. Anonymous says:

    The real story is the history between Ninja and Spoek. Ninja obviously feels something from ‘Control’.

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  62. Isis Mongoose says:

    @Mugabe – That’s very gracious. My first response was deeply ill-mannered. Sincere apologies there. See you on the next Brandon Edmonds Mahala fire fight (who knows maybe we’ll be on the same side). All the best with your music – even if you never make it – if you’re good – you’ll be respected by people who don’t care how popular you are.

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  63. warren says:

    waddy is the best rapper/mc in south africa. Every album he has done is super tight, lyrically and conceptually. Its wierd how the persona that has done well for him, is not the first few that had the positive messages but Die Antwoord that show the grime and underbelly of society at large.
    Bad news always sells more newspapers i guess. Big up to him and Jolandi, they are now in the position to spread whatever message they choose.

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  64. Anonymous says:

    mahala should publish the counter article by wickedmike http://www.wickedmike.com/die-antwoord-gets-even-weirder

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  65. Anonymous says:

    Spoek destroys die Antwoord.
    Whoever said his video was cheap and his song average…. Control is about the best music video to ever come out of this country, Mshimi Wam deestroys any other attempt at SA self awarenes / self parody music experiments by taking it to roots Die Antwoord can only try imagine, but have no direct link too, despite all the fake coloured accents they can muster.
    War on Words is a subtle and beautiful song.
    Die Antwoord have fenced themselvews off from even trying to wade into that kind of emotional sincerity. ‘

    I loved the Evil Boy video. I loved diplo’s influence on that track too, amazing work.
    But I hadn’t seen Control yet.

    Spoek brings class to what Die Antwoord are trying to do.
    He does it much better.

    He doesn’t need neon over the top in your face vulgarity to sell. The depth of Die Antwoord reaches to: ‘Is this for real?’ ‘No, they are putting on an act, they are aware of it’ ‘NO FUCKING WAYS THAT SHIT IS DEEP’
    Beyond that, the songs themselves might be a little quirky with some basic commentary now and then ‘disguised’ behind their trick pony, but thats about it.

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  66. Anonymous says:

    and to the guy arguing artists integrity over popular appeal…. you seem to position yourself as some kind of benchmark indicator of what should be considered good or bad, but the thing with ART is it’s always going to be subjective, meaning your opinion is always going to be irrelevant.

    The fact that you write off artists like Madonna and MJ just proves your narrow minded high school philosophy on the topic..
    Both of those artists wrote some killer stuff in the context of ‘music’ as a medium, and attempts to deny that render your own wealth of reference as empty.

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  67. Dan says:

    Die Antwoord>

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  68. Bla says:

    Someone has some personal hatred here. talk about ‘kak’ writing.

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  69. ToBeFrank. says:

    Jaysus, this korine film is unbelievably Kak and it makes the edge and mystery of Die Antwoord thin and exposed for the half baked stab at novelty that it is.

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  70. Deseed says:

    Die Antwoord is a group of people that have experimented with a lot of different sounds and styles and images. Regardless of the novelty of their image and portrayal, the point is: rap music is about musical and lyrical flow. They have that covered and so much more.

    Spoek’s lyrics are trite and sparse. I find no substance in the video you offer. It’s a great dance beat with a garbled voice that is nearly unintelligible beyond “He lost control. He needs control”. I have listened to a few of his other tracks and find that lack of substance across the board.

    The bottom line here is: Bring everything you got to the table no matter how novel it seems. Art is about expression and using the fullness of that expression. If you don’t get it, then that is on you and not the artist.

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  71. […] Translated, the title means ‘fuck all you fuckers‘. Yet another visually-enticing masterpiece which managed to set the blogs abuzz. To quote from this article: […]

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