Just what is it that makes Lebo Mathosa’s Ntozabantu so spiritual, so moving?

Gossip and backtalk is a habit that eats at the soul of the human fabric. Extended to Sunday paper gossip pages, the artist can be shredded into deep melancholy and entrapment. Lebo uses blood as a strong metaphor in Ntozabantu, a strategy to point out the value of human solidarity and harmony. Ntobazantu examines the seductive nature of gossip and backtalk. Furthermore, Lebo manages to pull intense tones to succeed with her appeal for a less cruel world.

Kgomotso Mamaila, Tebogo Mokoena and Nkosinathi Mathunjwa are part of the Thath'i Cover Okestra. Seen here workshopping at Keleketla! Library. Image by Tolo Pule - Friday 7 April 2012

Ntozabantu is appropriately directive, but not preachy. Dance music is consumed with euphoria at parties, clubs and ceremonies of sorts in society. Through this mode of communication, dancing is the most apparent response to a moving number number. Thats Y meaning in song can surpass the standard non-verbal human-to-human communication, and suggest non-defensive ways of receiving meaning in life. A significant message can therefore transmit non-verbally, even from an instrumental song.

Lebo’s Ntozabantu is blessed with both; concise, poignant lyrics over a dance-floor ready made melody. Ntozabantu speaks of tolerance with melancholy and jolly energy. Its power to convince us to leave other people’s business is emphasized by the artist’s legendary dance moves. By moving to Ntozabantu, I accept Lebo’s appeal to humanity, a spiritual feat by one of the strongest voices to emerge out of Kwaito.

Ntobazantu is one of the songs to be performed by the Thath’i Cover Okestra at the launch of Shoe Shop on 6 May 2012 at the Drill Hall, Johannesburg. Thath’i Cover is an 11-piece orchestra that revisions Kwaito produced between 1994 and 2004. It is co-curated by Rangoato Hlasane and Malose Malahlela and consists of members of different Joburg-based alternative bands/collectives. The orchestra will collaborate on two songs with the Alex Fieldband, with a special appearance by City Boys pantsula dance crew.

Thath’i Cover Okestra is: Mngomezulu Neku on bass, Tito Zwane on electric bass guitar, Zweli Mthembu on rhythm guitar, Nkosinathi Mathunjwa on keyboard, Kgomotso Mamaila on vocals, Tiko Ngobeni on percussions and didgeridoo, RubyGold on vocals, Gwyza on vocals, Mma Tseleng on electronics, Sibusiso Galaweni on drums and Tebogo Mokoena on saxophone.


Mma Tseleng’s new mix: Dijo Tsa Sontaga

Aka Kgodu ya Lerotse

This is Mma Tseleng’s experiment with Kwaito and Electronica. I have so much of these mixes, just never got around to sharing them empa ka ge bana ba motho ba ngwathelana hlogwana ya tsie, here we go! Hope y’all enjoy ne? Puff n Pass please. Sorry for the ‘unknown’ track names will get back to ya’ll.

Mma Tseleng – Kgodu ya lerotse

i. little dragon – after the rain (floating points remix)
ii. bonobo – pick up (four tet mix )
iii. culoe de song – ?
iv. oda meesta – wena ubani?
v. chiskop – phunyuka bamphethe
vi. chiskop – relax (instrumental)
vii. xploding plastix – ?
viii. trompies – u ku jaiva
ix. thebe – ha di kgogo di le tsosa (mma tseleng tsoga!thebe mix)

Enjoy it HERE!

The Goat of the Road

Mma Tseleng is a collector and Selector of South African Bubblegum, Disco, Maskandi, Tsonga disco, Old Skool Kwaito and Electronica. Fine selection of thought-provoking dance and electronica from South Africa an the world. Served for people with great taste for memorable networking and other happenings. To quote my DJ Satori, Mma Tseleng doesn’t play at wack parties!