batho archives

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In Conversation With Ascension Plea's

By Atang Moalosi & Tefo Kosie

Since their debut, the music collective Ascension Plea’s has been steadily building a loyal following with their genre-fluid approach to music. In this interview, the group talk about their latest release, Street Waltz along with their creative process as a collective, and also share how they balance group projects with their individual releases.

How did it feel having amassed immense success on the last project with the lead single 'Im Glad' gaining global traction?

It was a beautiful achievement, and very much expected because for the most part we are very intentional with how we do things. We pushed I’m Glad in the best way possible known to us and the album itself. The way we’re so genuine with each other too when making the music and outside of it breeds this kind of success and it’s no surprise and the fans made it happen.

''good, great actually! It was unexpected but pleasantly so, we always believed in our music. yet we're still truly humbled and still very grateful. The overpour in positive reception was life-changing''. - Briann BC

You just released your debut album last year, and on top of that, you also released individual projects and now a second project. Where are you getting all the time, and what keeps you going?

We’re chipping it all off from the time we should be sleeping, it’s literal sleepless nights and again being intentional, scheduling always pushing consistency with growing our art.

''Sacrifices, we have lots on our plates but we will always create a window to work towards the music, which is much bigger than us anyway. It is part of our everyday lives now. We’ve made working on music a norm''. - spacerover

Speaking of individual projects, how has your approach been to creating them since the start of Ascension Pleas?

It’s become better . Do you see how cool and great we are? Cool plus cool gone make another cooler thing when brought together. We inspire each other. Briann can come up with the most lyrical verse and you’ll see space come up with the craziest harmony to match that. You’ll hear a song made by an individual on a solo mission within the group and that will inspire the next guy with his own thing.

''It has been a boost creatively. Ever since we met, our ideas in general and our approaches to making music have benefited greatly thanks to the collaborative effort put in by each individual member, irrespective of it being an Ascension Plea’s song or a solo release from either of the crew. We understand now that even on a solo release there’s still going to be lots of collaboration . For example even if it is just a Banzai song on paper, you'll likely find space rover backings or Lucas might direct the music video or Hokage might be behind the production, in a nutshell we understand that AP is a community and that results in our output getting better and better every single time. 5 heads are better than 1''. -Briann BC

Your EP is titled Street Waltz, does it have any relation to one of the tracks in your debut album "Hood Waltz" and what was the idea behind this EP?

Yes it does. The name came from Lucas Chubbs when he was tryna plan a show for Ascension Plea’s which was something we wanted to make as a mix of class and street themes and that’s also kind of what the EP sounds like. Songs like Backrubs and Too loud have the classy slow sensational vibe while songs like Barena and WTTB are more of like a fun chaotic street experience.

‘Hood Waltz’ was an inspiration in terms of just the name but ‘STREET WALTZ’ comes from the theme of the music. Also in part inspired by our show (listening session for the EP), looking at where we are all from, we believe that we understand what people our age are into. They like street/classy stuff and the music takes from that. Songs like ‘backrubs’ or ‘too loud' are very classy and then you have songs like ‘What They Talkin’ Bout’ that are more street culture oriented so the project takes heavily from that duality as well''. -Lucas Chubbs

Visuals are also one of your selling points as a collective, what goes on behind the scenes when it comes to preparing or shooting the videos, the styling etc?

We have a beautiful community that we’re proud of that’s made of different creatives. All these people are our friends and people who genuinely love and respect what we do. Starting out with music production to the end product of video production. Usually, Lucas Chubbs, Dreamhills Studio and Thabo April take the lead with the visuals we have had so far. It’s really just fun when you’re doing it with your people.

''Prior to the actual shooting day, we will try to prepare everything the best we can (vision boards, scripts, budgets, set design ideas, styling, etc.) but for the most part. It’s a collaborative effort once we are on set. Some ideas wouldn't be what they are without everyone putting their piece into the jigsaw. There's no set formula, we just try by all means to execute whoever's vision it is on that day. But shout out to everyone that has helped us whether it’s a muse or videographer or any other unsung heroes''. -Tadiwa Phiri of DreamHills Studio speaking on behalf of Ascension Plea's as a part of the team*

You have been working with Dreamhills Studio for most of the promotion of your music. How did you meet them, and how has your experience working with them been?

Lucas Chubbs introduced DreamHills to Ascension Plea’s during a music camp that we planned in G North and that's when we started shooting a documentary for everything we do and it built on doing more projects with them. It’s the coolest partnership we’ve had so far.

''Our first proper collaboration was when we decided to do a Music Camp in G-North for a documentary/movie that would capture our process creating songs from our first album and DreamHills had agreed to document the entire process. (The 'De beers' video was shot that same weekend). We’ve been locked in ever since, 10/10'' -Lucas Chubbs

Each one of you has a different approach to making music but one would say you are connected through elements of RnB and rap, how did you learn to work around your unique ways of making music?

With this one we’d say things just kinda work and it’s a bit inexplicable. We just kinda have this relationship that works as peers and understand what each of us has to do or what we can do with a common goal in mind you know, it’s God’s work, something we’re just blessed to have, a perfect synergy.

''The best way to explain it is that Ascension Plea’s is a melting pot of different approaches. It’s honestly just a coincidence that individually our music falls into the categories of ‘Rap’ or ‘RnB’ or whatever but the key takeaway is that we are all very open-minded. Case and point ‘Barena’. For a lot of musicians it's very easy to plateau as an artist if you conform to one genre. It’s something we don't even think about anymore. Almost everything that we make is genre-fluid''. -Hookage

Are there any tracks in Street Waltz where the song was just spontaneous, like it was just vibes and not much thought into it?

All of them, for real it’s that easy.

''Pretty much all of them. We never really put too much thought into any of the songs, we just go with the flow of whatever it is that we are feeling/whatever mood we are in''. -Banzai

Take us through the process of making Barena, its the first track of yours where you fully sang and rapped in setswana

spacerover came up with the idea. He got the beat from Hookage and discussed the idea with Briann and Lucas during one of the sessions when Banzai and Hookage weren’t there and they did their thing, Banzai followed through later and killed his part too.

''Obviously we try to be as versatile as possible, and in doing that, expand our creativity and expand the message we are putting out there. Because we are Batswana, ideally, we will want to embrace our culture, embracing our ethnicity, embracing our nationality. It brings us to rapping/singing in Setswana. We connected with our roots''. - Spacerover

[For hookage] As much as each member of the group can produce music, you are pretty much the lead producer, do the other always look forward to you having the beats when making a track or it's more of an equal input?

I’d say both, all of the guys know how to produce, Chubbs and Banzai are still learning and getting good at it but know how to compose and always have significant input where needed but for the most part if I don’t cook up alone I’m making a beat with space. We all know how good I am and the guys inspire and contribute to how good I get too, it takes a good producer-artist relationship to make good music like we do and for the growth that we show to be as evident as it is. Briann is crazy with it, he made that Backrubs beat before the beat switch and that was a crazy beat for real.

The first project a lot of the beats were from 2-3 years ago but only in this new project are there beats I made from scratch, but even in terms of the reception of my beats, they (the rest of AP) have just always liked my sound, irrespective to how different each beat may sound compared to the last one, so it was easy for me to play them whatever. Sometimes I make a beat then BC adds something or Space Adds something or whoever else, we have just cultivated a culture of working together on everything, production included.

[For hookage] You made an appearance on briann's EP trust the process and you were rapping, have you ever tried to get into rapping or you've always wanted be a producer only?

‘Before i started making beats my cousins got me into rapping but as time went on I realised I actually really like making beats in comparison to rapping over them, I still dabble here and there but I primarily produce records now, Not really l, I might play around with it but nah.. I’m great at producing/beatmaking and that’s what I love and wanna stick to.

You have had a handful of live experiences with fans to support the release of your projects as a group and individually, how is that important to you especially in the context of how a lot of local artists in Botswana aren't given the best opportunities and experiences to perform in events?

It’s just encouraging but we have this thing whereby we just feel it’s important to do you… regardless of being given opportunities or not, go make or do your own thing, you’ll learn more from all that and build your community from all that with your team and the fans, you’ll find your people.

''We always try to make it a full experience; we don't just want it to end on virtual platforms. We want to enhance the journey for our supporters. Engage. It’s very important.'' -Banzai

[For spacerover] One would say that you are the main vocalist of the group, how do you work around with the other members who are rappers?

It’s like we said it just works, we understand each other and are blessed to know and be good at our own roles, it’s mostly about unity, creating a song with artists that come with their own context means me embracing myself as an artist in my own context as well. It’s not rappers/singers per say, we all see each other as creatives. We choose to dwell on creating as a unit as opposed to rapping or singing. For me, It's nothing uncomfortable. It helps create something more wholesome.

Featuring a lot of artists is something that both fans and artists might be skeptical of, how do you deal with featuring more artists considering that there is five of you, is it something you enjoy doing or you find it overstimulating?

Eish Eish Eish Eish Eish !!!!! It’s cool and all but it’s not something you just do. With the music before we call someone for that or they call us, it has to make sense and we must have some kind of genuine connection. We pay attention though to who’s fly out here besides us and there a lot of fly talent. Maybe one day we can do a REVENGE OF THE DREAMERS inspired mixtape with the people out here, if it happens then it will happen, that would be cool.

''It’s more so about the end product. We have featured songs that are 3 mins, we have featured songs that are 6 mins, so the number of people on the song isn't an issue. The big question is, ‘Is this enhancing or taking away from the song as a listening experience?’ In the past (and I'm sure in the future as well), we’ve had to make executive decisions like rearranging the order in which the verses are delivered, or even removing certain features completely. The music takes top priority before we just start stacking features for the sake of having cool features. It’s not a big deal for us. We know we can deliver with or without assistance from any artist .'' -Briann BC

[for Lucas Chubbs] you directed two music videos from this project, what inspired you to take up the role of a director in these videos?

I know all these brothers really well and I have a vivid imagination and know what looks cool for me and I trust in that, so I always aim to make something cool enough to express or display how fly we are in our videos and I’m a really big observer. I feel as though I have a firm grasp on how cool everybody is/the music is. After listening to any of the songs, depending on how it makes me feel, I will always find a way to express how every member can be depicted in a way that matches how cool the music is while also capturing who we are visually. I will plan for the shoots and I just try to bring to life what I see mentally.

[for banzai] how did the collaboration with the amazing Mpho Sebina on your last project Hiatus Tapes' come about?

That’s gang, that’s my sister, that’s family, man. We’ve always known about each other’s work and shown love. When the chance presented itself, we just made it happen—and we’re here now. I sent her an idea, one day we met at the studio, and that was it. It wasn’t anything crazy.

[for briann] your last project 'Trust The Process' emanated of heavy RnB influence what was the thought process behind that decision specifically?

I’m heavily inspired by soulful sounds and a lot of it was just me trying to connect with that. and like space said, we consider ourselves as artists and creatives so if it emanated RnB, I’d like to think it also emanated Jazz, Hip Hop, and more. I don't necessarily have a lane that I want to direct my music into. I love producing and I love writing, that’s all the thought that went into that. It sounded like that because I liked how it sounded.

How does your songwriting process usually go?

We just do whatever, Hook makes the beat or one of us might and it just happens in so many different ways, so yeah it’s also very inexplicable, it happens in all kinds of situations but it’s always a fun process so far.

''We never really go in any particular order, whoever has the first idea goes first and anyone that can top that will top it and that carries on until the song ends''. Banzai

From a previous interview we did with hookage, he told us of how you guys met but we would like for you guys to take us through the moment where you actually made your first track as Ascension Pleas

We all have our own experiences or story with that but the main important one would be that we met or it was made possible by Lucas. Lucas met every member individually at different times, he’d been friends with spacerover from their hometown since junior school, met with Banzai and Hookage through socials supporting each other and building a friendship with the music being the foundation of it all. He met Briann through Pablo%8 at a couple music shows like Perfect Noise. Eventually Lucas would go off to invite the guys and a few more people in his space to do workshops or make music and do a bunch of creative activities with the aim to build a new community and the people who were consistent with it were the 5 members we have now. The first song made was ROLLS ROYCE MUSIC.Unknown to the other three members that they were all going to meet Lucas and space had invited the others for a music session on a busy day at Lucas’s room at the UB school campus. Hookage had been making beats all day in the room and was joined by Banzai while LOAFS duo was out and Briann later joined. The two came back to a banger being made and finished it off and now we’re here

''Everybody has their own story of how it happened but I met every member individually first and because I felt like there were certain genuine traits that I liked about each member I thought making or becoming a community was a good idea. It started with us just coming through to share or just have conversations. It eventually grew to us being able to make music together. It was one of those things where ‘if you were meant to be there, YOU WERE THERE’. The first song we got to make was ‘Rolls Royce Music’. That song started with Banzai and Hookage recording in my room in UB, then Bc came and eventually space and I as well. A bunch of other people showed face in the early stages of AP but the 5 of us are the people who stayed consistent and now here we are''.- Lucas

Do you guys plan on taking it overseas or remaining locally and pioneering a movement?

Definitely! We plan on taking over the world and being an inspiration to the generations after us, there’s no doubt we’ll make it

We plan on taking over the whole world

photos by @dreamhillsstudio and @bitchassniggawtf

[bathoarchives]

In Conversation With 84gotyouinyourfeelings

By Atang Moalosi & Tefo Kosie

With his unique delivery and downright passion for bass-pumped beats and hard-hitting drums, 84 conveys personal and societal struggles riddled with kasi lingo and distinctive annotations. We chatted to him about his lyrical content, and production choices among many others.

We're obviously going to ask you about your name, how did that come about?

My uncle was born the year 1984. He was my Superman growing up. 84 is my tribute.

When did you figure out you had a passion for rapping and how did that then translate to writing and recording music?

Back in primary, my older cousin used to be part of a rap group. When I finally gained the courage to ask him for a feature, he said no. In that, writing music began. After high school started recording.

You've been consistently releasing singles since last year, how has the reception been from your fans, have you felt any pressure to release a  project?

To say I have fans is a blessing. The reception is good, overwhelming sometimes. I plan on dropping a project or two this year.

The first track of yours we heard was xeta lobaka, how did you find out about us?

Instagram, I saw your page. Le bereka overtime. True embodiment of Bots.

Your songs have these distinct melodic loops, are you the one producing them or there's someone behind the production?

Majority of the instrumentals are produced by Tsutsurika Tata (Dj skinny D), influenced by the kasi.

You work really closely with the dj/producer Dj Skinny D, how is that experience like?

That’s my brother. Its us against the world.

Along with the distinct production in your tracks, you have this "chaotic" flow/delivery when rapping that has you switching between the pitches of your voice, how did you get into it?

Freestyling. Started expressing myself with no filter. Found me.

Tell us about DAW, what is it and how did it come to life?

DAW is a creative collective made up of Tsutsurika Tata, Dj.getsyouwetter, Gambit & myself. Our support system. An acronym for DO ALL WILLINGLY, which we try live by.

You've also had the chance to perform live, when was your first ever performance and how was the experience?

First performance was an event in 2019 called VAARBZ. A real confidence booster. Entered knowing no one, by the end of the night everyone knew my name.

You recently released a track "I LOVE YOU" along with some visuals featuring kgalie, how long did it take for you to shoot the video and would you say it was challenging for you to try and portray the message behind the song?

The video was shot in a couple of hours. Coming up with the concept wasn’t necessarily challenging. Recently went through a break up so I had time to self reflect and accept. In that, the video was born.

Like most rappers, you tend to narrate a lot of elements of your daily life and tinges of the common social ills affecting people, you have tracks like Battle Of Dimawe which touches on a historical event in Botswana, would you take us through the process of how it came about?

Ke godisitswe ke Bakwena. Hearing stories of Kgosi Sechele I around camp fires, ignites a great sense of belonging. A past I am proud to tell.

What can we expect from you as we go further into 2025?

Music & Art.

all photos used are photographed by @tsutsurika_tata

[bathoarchives]

In Conversation With Gaborone Fancy

By Atang Moalosi and Tefo Kosie

In this interview, Gaborone Fancy gives us a deep dive into the inspiration behind his recent debut release, "Gaborone Fantasy," as well as the creative process of curating his project and his journey of learning how to play instruments and produce music.

Gaborone Fancy is quite an intriguing name. Would you mind telling us how you came up with this name?

Gaborone shaped me. The city is a large part of who I am, so it felt very fitting to include it in my artist name. Also, a lot of people don't know that the "Gaborone" in my name is to be said in English, instead of with the correct Setswana pronunciation. This is a nod to the fact that I, like many others my age, are very westernised. Since I was a boy, I've been told in various ways that I am not a "real motswana" because I can't speak the language. For a long time this made me feel out of place and rejected by the home that I loved so dearly. The idea of being a native, "poisoned" by western influence, birthed the name of the umbrella that covers my creative endeavours, "Khoisan Poison". I was raised by Western art and Tswana proverbs. There is a beautiful blend of cultures within me and it manifests itself in everything I create. So embracing that duality in my name felt very empowering. "Fancy" is a name I've been called since I was a baby; it comes from my first name, Ofentse.

What is the earliest memory of your introduction to music?

When I was younger, my parents worked from morning to evening, so they would get me a bunch of DVDs to watch while I was in the house all day. I was obsessed with Barney & Friends, and my favourite part of the show was when they would break into song. I would sing and dance as if I was in the playground with them.

Which artists either international or local have influenced the way you approach music?

I've been impacted by so many artists, but I have to salute Mr. Laone Thekiso of the Grow To Black Collective as my biggest local inspiration. Internationally, D'angelo and Robert Glasper are two of my GOATS.

Which instruments can you play and how would you describe the experience of learning how to play them? Are you self-taught or did you attend music school?

I play the piano, guitar, and bass quite well. I'm an amateur drummer too. Learning how to play them took a lot of patience. I started having lessons in 2019 so it's been about 6 years now. I believe everybody can play instruments; after you imagine a melody in your head it's just a matter of training your fingers to produce that sound on your instrument. The mechanical aspect of playing instruments is simple, anybody can perform Tchaikovsky with enough time. What makes you special is your creativity, and the remarkable thing about it is you have that before you even pick up the instrument. It's not something you have to exercise, you're born with it. Practice, lessons, theory; these are all tools you use to better express yourself and unlock new pathways for you to explore.

Aside from music, you are involved in a collective called freethegoose, one of many emerging creative collectives from the newer generation in Botswana. Reflecting on its inception, what can you say about how it started and its impact on your growth as an artist?

Free The Goose is a movement incepted by one of my best friends, Abel. All the members and I have been close for a long time. So when Abel brought us together, we already had a shared vision, and an understanding of the importance of FTG's purpose. FTG is about elevating the culture, and building a network of people that are passionate about whatever it is that they do. It solidified the principles that I continue to use when navigating creative spaces; love and respect for all my peers, and an appreciation of the COMMUNITY.

Every single song on your project, features ayanda, how did this collaboration come up about, did you always specifically have her in mind as a vocalist on this project or as a collaborator?

I asked Nick to recommend me a vocalist for a song I was working on and he sent me her instagram. I had only seen the covers she posted to her page, and it was a different vibe from the music I wanted her to sing on. I was skeptical but I wanted to at least try it out. We talked and I sent her the instrumental... she sent me back a MASTERPIECE. I was completely blown away and I immediately started sending her everything I had. Ayanda understands what it means for a vocalist to sing WITH the instrumental instead of ON it. She is one of the most talented singers in Botswana and I'm so grateful we discovered each other.

What was your vision with Gaborone Fantasy, what came into your mind when you decided to curate this project?

I got frustrated with the place that music has come to, where it feels like we are constantly making music out of pre-existing music. Sampling is an amazing art, but I feel that in a lot of instances it has become lazy and shallow. I wanted to build music from silence; I wanted every sound to come from a higher place and not a sample pack. This wasn't possible with the drums because they are so difficult to record, but every other sound in the project came directly from within myself and the other people on the project. I think that's the way music is supposed to be made. This process made GF take much longer to make than it would've otherwise, but I think it was worth it. The music sounds surreal to me, like it's the soundtrack to a dream or a fantasy.

Would you say you had a problem with the sequencing of the songs on the album, especially considering that this is your debut project?

Making the songs was a very natural process. They sound completely different, but all have a common feel because I was in the same "zone" while making them. I always take my time when making music and only do what feels right when it feels right. So all the decisions I made were with a sound mind.

Along with the sonic production of the album, the announcement of the album was accompanied by some vivid and symbolic photography, do you mind telling us the thought process behind this and how you worked with the photographers and stylists?

Putting European instruments in an African bush reinforced the duality that I spoke of earlier. Thabo and Eileen did the photography and styling. Shooting the pictures on film instead of a digital camera continued the "traditional/manual" approach that we used when making the music. Just like the songs, it made the process take longer, but it was worth it. We featured custom Gaborone Fantasy Souff Stars tees, and the Khoisan Poison Leteisi Jacket. Sia's Souff Stars tee design communicated the meaning of Khoisan Poison and its associated principles perfectly. The clenched fist symbolises the African struggle for liberation and prosperity. The afro-comb works with African beads that spill out of the fist and form the "Souff" logo, to echo the presence of Afro representation in the art we make. The American flag speaks to the Western influence I talked about earlier. It was also important to display instruments in the album cover to emphasise that there is heavy live instrumentation in the album.

What is your favourite album of all time?

Voodoo by D'angelo

What do you enjoy listening to currently?

I'm currently listening to a lot of Hiatus Kaiyote and OK Computer by Radiohead

How would you describe the first time you performed/played an instrument in front of a crowd?

The first time I performed at a show was with Sebaga and Stretch. I had actually only rehearsed for 2 days before the performance so I felt super unprepared. However, looking up and realising that I was performing with 3 other people took my nerves down, especially when I looked at their faces and saw that they were actually enjoying themselves instead of freaking out like I was. The performance became fun after that. I noticed that it wasn't that serious, we were really just up there sharing a vibe, that's all performing is.

How have you been feeling about the reception of Gaborone Fantasy since its release?

I knew the music was beautiful and dramatic and moving, but I thought it would only be that way to my own ears. I had no idea that this many people would like it, and I had no idea that they would like it THIS much. I am extremely humbled and grateful that people can share this fantasy with me. Every single day someone makes sure to remind me that I've connected with them through this music, and that is a blessing that touches me deeply. Thank you for accepting this part of me and thank you to everybody that helped bring it to light.

Should we expect any live performance experience to support your album release any time soon?

Definitely. I'll be practicing...

photos used are photographed by @bitchassniggawtf and @earthtoeileen

[bathoarchives]

In Conversation With Realname Prada

Words by Atang Moalosi and Tefo Kosie

After closing off 2024 with his mixtape Southside Broke My Heart, Realname Prada is back to talk about the story behind his project and his journey as a rapper.

Southside Broke My Heart boasts a newly found headspace for Realname Prada who approaches the mixtape with a very definitive energy. The project is littered with clever one-liners such as on the lead single 'Versace Flow' which is a great singular representation of the overall mood of the project. Prada boasts assertive verses to compliment 'Chef's' sample-heavy production that carries the mixtape to complete rap prowess. SBMH is an exploration of Botswana from Prada's eyes. From the OG tales of encouragement to the vibrant lines about having diamonds in the backyard, Realname paints a vivid scenery of a seemingly chaotic world in which he thrives regardless.

What is the story behind  ‘Realname Prada’ and what about chrysus, who is that and why did you change your name?

I’m Chrysus. I’m gonna start with Chrysus because that’s how I started off. Chrysus is literally just a name i got off a name generator when i wanted name to start out my journey. I went with Chrysus because I was still very self-conscious about my music and I didn’t want anybody even getting the idea that it was me. and then Realname Prada is a funny story actually. Once upon a time I thought I would get Prada boots and they were all I could talk about but i never got the boots and so it sorta became a joke to call me Prada/Prada Don Dada. The name Prada stuck and i just changed it one day in the name of evolution. plus it sounds cooler than Chrysus

When did you start writing and rapping?

I would say I’ve been rapping since 2019 but i only started seriously writing and putting out work in 2020.

The project before your last (sumn dffrnt) was very definitive soundwise and consisted of a lot confident rapping over slower tempo beats. How was the process working that and conceptualizing the difference in who were and the then present self?

I was actually trying to put together a whole other project with a different name and everything. I was failing to meet my own deadlines and realized throughout the whole recording and writing that i was straying off the original concept. I also felt that I was really doing “something different” from what was out then in our scene and from the original plan and that led to the tape. I think back then I had less to think when making the music. it was just about making music to impress my friends who had just found out that i make music and having fun while doing it. That’s the difference; then it was about exploring that box i had just opened and now its more of trying to see how i can grow past that box and try to be a better hiphop artist/rapper overall.

Your new mixtape sounds like a refined extension of sum dffrnt. You also curated practically the whole project with a very talented producer 'chef'. What was the thought process behind that?

I wouldn’t necessarily say its a refined extension but without sumn dffrnt there definitely wouldn’t be a SBMH. I can say it inspired it maybe. There wasn’t much of a thought process because most of the songs are just my thoughts, feelings and observations at certain points of last year. Chef’s production helped bring all those things to life because of his understanding of my vision. He’s great at what he does so that paired with good chemistry can’t go wrong in my opinion

Speaking of music production, what draws you to this sample heavy hip hop production style, and which artists influenced the way you approach music?

i’m heavily influenced but what i think is called modern boom-bap or “yap rap”. I take my inspiration from a whole lot of artists ranging from the whole the Griselda niggas to Jay Z, from A-reece to local OG’s like Zeus & Scar and more recently the Roots. Some of the aforementioned artists used a lot of sample based instrumentals which I was first exposed on the Jay-Z albums “4:44” and “Reasonable Doubt” as well as “Pray For Paris” by Westside Gunn so that’s what kind of set the tone for me loving samples. i feel like the samples kind of force you to say something that will draw the listener further into your world or into whatever picture you’re trying to paint.

Prior to the release of the mixtape, you were featured on Sinner TV to perform the then-unreleased track "scmmrs and rbbrs" on their first edition of the Free Yourself performances. How did that come about?

Ciggz had told me about the idea for the show before and we had spoke about making it happen for a while. It just so happened that one fateful night when i was at his place he said “we could shoot it right now” and we just went and we did it right then and there. I thought it would also be good promo for the release.

What is your favourite song from SBMH and why?

Currently it’s “verse of the year.” That’s because I believe I pushed myself out my comfort zone with that one in terms of delivery and also just the theme & message of the song are personally important to me. My friend likes to say its an anthem.

 What was the idea behind the name SBMH?

I come from and live in Ramotswa. I also spend a lot of my time in Gaborone. Both those places are located in the Southern region of Botswana so thats the Southside part. So the name of the tape is a direct nod at how i'm confronting these observations/feelings i express in the project. Its a realization that this is what’s happening but also it breaks my heart that this is what i’m seeing and feeling.

live from the 267 carried the only feature of the project, Tash, who is also on your Yorokobi team. How did the collaboration come about, and how was the experience of working on it?

I hadn’t finished the song but I sent it to the team for feedback on it because it took me some time to warm up to the song. Tash particularly favoured it and he sent me back the file with his verse on it. It wasn’t necessarily a planned, it just turned out that way for the better because I probably wasn’t going to finish the song as quick as it was finished.

Does prioritizing hard hitting and technically lyrical material over the current climate of 'content-like' music make you feel a way?

Given the type of music I make, I’m naturally bound to feel a way so yes, but music is music. I can advocate for “lyrical miracles” all I want but the truth is I also enjoy some of the content-like music. I do also believe though that there should be somewhat an element of substance to it. To each his own

Should we expect more visuals going into 2025?

Yes. More visuals for sure

Are collaborations on your mind going into this year or is it more of an individual effort?

I’m definitely looking into a lot of collaborations this year. The YK team will be putting in a collective effort alongside a lot of other creatives that are doing their thing. I can’t say too much for now.

Stream Realname Prada's mixtape HERE

[bathoarchives]

In Conversation With GRIM$

By Atang Moalosi

In this conversation, we talk to artist GRIM$ about his recently released short film which debuted at the Ditori Festival and his book 'Naked Roots' along with his approach to producing music and how he deals with expressing his opinions in his music.

How did you end up coming up with this ‘’political satire on current day Botswana’’, what sparked you to turn it into an actual project?

Batswana and their docile nature. Batswana (as much as I love them to death) are the kind of people who want to pacify and party. I think we get killed by this “Mong ‘ame” mentality and our overall disinterest in reading between the fine print (and I totally get it, when the rent is due, I never think about politicians And Mmegi). I didn’t make it for the sake of being a contrarian (I actually did my research), I just thought it’s weird how everyone ignores things that affect us coz like it or not life has political undertones (that’s why we have hierarchies, classism, social conditioning…yadi yada) but hey, what do I know.

Considering how people tend to be less vocal on political commentary on public platforms, where you a bit skeptical about how they would react to ‘’OBESITY’’ at the ditori festival ?

I’ve reached a point where I don’t attach myself to my work (I create and move on). I’m used to creating from a space of nothingness or people not caring (so this is all new to me). There’re certain things I wanted to double down on but due to occupation, zero resourcing and timing, I couldn’t but NO I was never skeptical, if anything I rather they walk out confused and thinking but l’ll digress before I sound like that Jaden Smith meme

How long did it take for you to write ‘’Naked Roots’’ and why did you give it the title. Has your dad read it, what was his reaction?

The original book was published as “The Naked Forest”, I just didn’t like it…my reinterpretation of the book felt like “these are the naked roots of the wilderness…” so I named it Naked Roots to piggy back from the old name. It took me some months to write it, maybe 4. That sounds crazy coz I was juggling school but…I started it from scratch and my objective was to make the book feel interactive and fun (it’s hard to explain but if you ever cop the book, you’ll understand the level of sorcery I did on there). There’s actually a follow up I should be working on but right now I’m on break…as far as my dad is concerned, the man is out of words…he couldn’t read the whole thing coz he’s always busy but he’s really proud and he knows if this thing reaches the right hands, you might as well consider me a former UB student /now full-time author and executive producer…I’m really that good!

What do you hope to achieve with your music?

I think it’s purely for expression. Music in the grand scheme of things is not a viable endeavour (if people understood streaming pay cuts, 360 deals and other music industry stuff they’d know a lot of music business is robbing the artist). I don’t even know what l’ll be doing in 5 years coz tomorrow is not promised...so I’ll just saying, I’m just being myself. If it becomes the medium that propels me then my answer will be to bring something new to the market. I make stuff I want to hear and l’ll keep making music regardless of view counts, to be honest I do it for myself coz I’ve doing this since 2017…it’s the only way I made my insanity look sexy.

Who and what inspires the way you approach music?

I get inspired by a lot of artists (I could spend all day trying to recall them one by one) or just simple things like conversations, a beautiful woman I’ve seen or me taking a walk. I approach my work visually. I’m into world building and making concepts coz I love movies and plot. I code a lot of my stuff with subtle messaging or esoteric nudges and when I write or mix, I genuinely compete with my inspirations (not in terms of views but in terms of output and making sure the sonics make you doubt the fact that everything I’ve done so far is made from a phone). I don’t want people to be like “Oh this is clearly from Botswana”. I want to express our culture and history through a different lens (a very creative one at that). I hate how one dimensional the sampling and laying of vocals has become. I want us to have our own versions of unique bodies of work, bodies of work that have our culture but palatable internationally, thought provoking and experimental (I hate cookie cutter stuff). I’m tired of the typical “Oh be scared of HIV and alcohol” stuff on radio and TV, there’s a serious lack of artistic identity and nuance.

How would describe your process of making music?

Chaotic, random and impulsive. I rarely run out of ideas, I typically record 2 to 3 songs in a day (while juggling a visual, some artworks and school…it’s an obsession). At this point it’s second nature to me (the only reason I take time is due to a collaborator I’m working with or life forcing me to be present). I also create conceptually or in sequence (most of my work is self-referential or has a lot of easter eggs) but I’m trying to learn how to capture an audience, I guess I’m in my PR era and my next work with my mate Yours Truly (or El mafia…a Motswana too) is me trying to change up my process (look forward to “terribilis societas” by GRIM$ and Yours Truly…)

You produce music, write and graphic design/video editing, is there any other artistic medium you’d like to tap in?

I draw and paint too so probably hands-on work like making jewellery. I used to make these “Dragon Ball Z” board games from hardcover scraps and I’d make comic books that people stole (this was back in grade 6…), so maybe I might dive into that keore hela the timing is terrible, I’m grown now and surviving doesn’t give me enough time to pursue stuff. I know and do a lot more…I just don’t know how to soft launch it (I’m working on it!).

Are there any artists here in Botswana you'd like to collaborate with?

A.T.I (obviously), Sebaga (pssst…I mean) and Sereetsi and the Natives (just because they remind me of Thundercat and George Clinton…they have this comedic sense to them...not to say they make clown music but you can tell they are very open minded and they have fun creating).

But as far working with people, I’ve already worked with Malum Carlie (on his song called “Scared to Fly”, Blimid (on “SWEETNER” and “gita govinda”), Internet key (on “MA$$$ON MONEY”), Hi Lesedi (a poet by the way), Bxdd Cxndy(she ad-libbed on “RED EYES” and we worked on like 2 songs) and Zade(on his upcoming project due October) and I’m in the processing of making something with Lynn Rosie (all people mentioned here are Batswana). My form of collaboration is always an attempt at unlocking something new or quirky.

The first track we heard from you is Sunseekers on Soundcloud, how did you find out about us?

When you guys reposted me; I was in a terrible space back then all I remember is some page just tagging me and I was like “Oooh shoot” (what kind of Nardwuar timing is this!). My memory might be foggy but I probably knew you guys’ coz you interviewed Sebaga or something along those lines.

You often give your opinion on the state of society through your music, has there ever been a point where you felt you were 'overexpressing' yourself.

Psst, not even. If anything, I’m looking forward to building a stable audience and doubling down on my messaging (not to sound radical…). To me overexpressing is telling all your business on wax (I don’t do that). Concepts like SKIDROW MORALITY expressed the existential numbing you do to survive, how we all kill our dreams to make money and we use vices like sex, drinking or whatever to lessen the strain of survival as a way to cope from killing our inner child. If anything I’d say my work is real, maybe uncomfortable to some (but I wouldn’t know coz they don’t say) …it’s far from overexpressing, it only sounds that way to people who are used to a certain format of music and I tend to break that mold.

originally published on the 4th of october 2024

words by Atang Moalosi

photos by GRIM$ and blimid

listen to GRIM$

SPOTIFY

SOUNDCLOUD

APPLE MUSIC

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Exploring Mpho Sebina's Artistic Appreciation of her African and Setswana Roots

By Atang Moalosi and Tefo Kosie

Hailing from the Kgatleng District’s capital Mochudi is Mpho Sebina, a singer-songwriter who has immersed herself in producing and creating the continent's best jazz, soul, and afro-fusion music. A self-proclaimed Pan-Africanist, Mpho's music has been a true reflection of expressing her African and Tswana roots through cognizant use of local rhythmic instrumentation and vocal progressions, to say the least.

The love and use of indigenous elements prevailed notably in her 2015 debut single 'Loves Light' which she explains was inspired by the song Tselane by BLK JKS which is loosely based on a Tswana folktale 'Tselane'. The song, produced by local legendary beatmaker Favi includes elements of the staple beats and claps of traditional folk music production fused with soul. The music video features a cameo of traditional dancers and showcases the landscape of Botswana from the luscious water basins to the barren semi-desert land with the soundtrack playing behind the eye-catching visuals laying a foundation of Mpho’s start to dominance in the music scene.

stills from the 'Tjuele' music video directed by Thina Zibi

It would take a whole two years for Mpho to return and release two songs leading up to the release of her debut EP 'Neo' with very memorable moments such as the song ‘Tjuele’ which is a rendition of another famous setswana folktale with the same name. The song features ATI, another local music giant who sings the chorus repeatedly in the background. This music video in contrast only features Mpho (Tjuele's mother) and a young girl (Tjuele). In the first scene, Mpho is seen caressing the young girl’s hair, both draped in white dresses. Behind them is a famous portrait of a black woman and her son, which is beloved among the black community directly linking to the thematic affectionate scenery painted by the song and the visuals. The song has this continuous click-clack sound, reminiscent of the tune of clapping hands and matlhoa or traditional leg rattles used as a part of uniform for typical traditional dance. Remarkably Tjuele is the only song in the project sung in Setswana.

stills from the 'Slip Away' music video directed by Mpho Sebina and Motheo Moeng

‘Slip Away’ is another beautiful 5-minute song from the Neo EP of Mpho harmonizing over a midtempo beat, the song was also accompanied by a set of visuals that captures the hustle and bustle of the city of Accra in Ghana. The video includes many beautiful shots including Mpho having her hair plaited in the streets, women dressed in beautiful African attire and women carrying their belongings over their heads which is a very common practice amongst African women.

‘LORA’

'Lora' album cover designed by Tebogo Cranwell and Neo Rakgajane

‘Lora’ is Mpho Sebina's debut album, released in 2020 five years after introducing the world to her very enigmatic sound. The album cover itself is quite a striking piece. With its shade of blue background, it only highlights certain parts of Mpho's half-bodily features. The first thing noticeable is the pink highlighted corn rows, her lips and some African beads which include cowrie shells deemed very valuable in most African cultures. This album is easily Mpho's most definitive record, both sonically and visually as it sets her among the most highly decorated singers the continent boasts.

stills from the 'Pula' music video directed by Yannis Sainte-rose

The lead single 'Pula' is taken from the setswana song 'Pula Nkgodisa' which translates to ‘Rain, help me grow’ and the “Rain Rain Go Away” song. She uses rain as a metaphor for pain and shows struggle with the lyrics 'Rain Rain Go Away, I wanna go out and Play’. Later in the song she employs rain as a metaphor for growth posing a divergent perspective with lyrics 'Pula Nkgodise, Pula Mphodisa'. This song reflects on times of struggle and hope as it was released in 2020 when the world was heavily gripped by the coronavirus pandemic and a worldwide lockdown. The music video includes shots of Mpho wearing an African print headwrap and cardigan along with her Bantu knots. The conscious use of Setswana lyrics and visual nuances further displays Mpho's love for making music that centers her heritage as a Motswana.

stills from the Melodi music video directed by Yannis Sainte-rose

The song ‘Melodi's’ music video features Mpho Sebina in a few shots where she is covered by cloth and some other noteworthy scenes with her in front of the backdrop of the abstract painting which matches the colour of her African headwrap. The constant use of African clothing and artefacts in and around her visual presentations accompanying the already Afrocentric sonics just solidify the passion behind the endemic standard she has set for herself.

stills from the Dumelang music video directed by Mpho Sebina

‘Dumelang’ is a very warm and welcoming song that pretty much highlights a very important aspect of Botswana's culture-the standard gesture of greeting. The song hosts a confident Mpho giving the listeners a brief tour of the beautiful country and her own experiences within the context of the song. It also boasts visual excellence, a highly decorated facet of Mpho Sebina as an artist by showcasing parts of Botswana's culture, including scenes of her dressed in clothing sourced from local brands, also sweeping with a traditional broom/ ‘lefeelo la ditlhokwa’ close to a three-legged pot which is quite reminiscent of a traditional home in a village. Other shots include local art persons cameos including Dato Seiko, Nature Inger along with Mboko Basiami the founder of Glotto, a pan-African clothing brand from Botswana. Notably, Mpho is also seen wearing Zulu female head attire called “isicholo”, and the Basotho hat known as “lekorotlo”. Throughout the video, Mpho is dressed in clothing sourced from local brands.

‘Ntsha Nkgo’ is another rendition of a traditional song with the same title, which is often sung during ceremonies. The song touches on aspects of typical traditional celebratory ceremonies, including the culture of sharing traditional beer among family and friends especially older men hence the line ''Ntsha Nkgo re kgaritlheng le bannabagolo''. The sacred events normally include the slaughtering of an animal to be feasted during the ceremony ''Ko Boseja go tlhabilwe Kolobe hoki''

Renditions of traditional folk songs remain a constant theme in Mpho's music as she also reworks 'Sananapo' a song from a well-known folktale in 'Sananapo's Interlude'. Folktales and songs are essential in traditional culture as they are often used as a form of entertainment and an opportunity for the elderly to pass on and teach the younger generation about customs and values which are indigenous to us. Mpho's modern twist to these songs helps revive the connection between Batswana and their culture especially in modern times where most of the older generation believes that our culture is being eroded.

As we await the release of Mpho's sophomore album, It is well evident that Mpho will always centre her African heritage on her music. Alkebulan, which is the name of the next album, is quite an interesting name as it is believed to be the original name for Africa according to the oldest nubian and kinetic texts. In her interview with Drum Magazine, Mpho reveals that her album will feature female artists from different parts of Africa to celebrate the women and their africaness. She also stated that she was influenced by the various sounds of African music. 

[bathoarchives]

Base Gala: A Conversation With The Artists

On the 3rd of August, OKWC held their first edition of the Base Gala, an art gallery and music event, this is one of the events they have organized to push music arts and culture. In this conversation, we talked to all the artists who were a part of this event about their beginnings as artists, their work and much more.

SAIGOTHEEDITOR

You’ve been documenting/photographing many artists in the newer generation, how important is this to you?

Its important that the world knows whats going on in Botswana the youts are on a very beautiful but tough journey in all their different fields and i feel like its my duty to document the journey.

When was the first time someone reached out for you to work with them?

2021, my boy Setso owns a clothing brand called Groovy and he is actually the first person to give me a cheque for my photography, its something iam forever going to be grateful for.

Which music video is the first one you’ve shot, and how was the experience of shooting it?

I would say the first music video i did was the "De Beers" music video for Ascension Plea's. I directed and shot it alongside Dreamhills studios and the experience was really dope. We started production at 6am and shot everything in one take,it took us 3 tries to nail but in the end i guess it was worth it, shout out to the boys.

Who is your favourite photographer?

My top 2 rn are Septembrrline and HMD

What do you use to shoot your work, and what do you prefer to use more?

For pictures, i like shooting with the Canon 4000D then for videos i prefer the Sony A7iii, but I am a strong believer that it isn't really about the equipment.

How did you get into photography?

Growing up i loved movies, taking pictures and documenting stuff. Mixed that with my love for music, i just knew that my path is here. But starting off i was an artist in junior school (i was a bad rapper ngl) but i wanted my pictures and videos done in a certain way because i realised that the type of vibe that was in Botswana at the time didnt really match up with what i wanted, so i decided to start taking pictures for myself, so in me falling deep into watching music videos getting exposed to indie artists and photographers, it sparked the love i had for photography as a kid and here we are now.

DJGETSYOUWETTER

’djgetsyouwetter’’ how did you come up with your dj name?

Partynextdoor said “she just changed her twitter to party gets me wetter” and I ran with it by making it my finsta name, ‘kgaliegetsyouwetter.’ By the time I started being a DJ, I guess you could say the “getsyouwetter” became a brand, my alter ego.

What got you into djing and how did you learn?

Always used to get on aux around my friends and We’d joke about me becoming a dj. Then I met a group of friends that pushed me to stop joking and do it. In terms of learning, I’m yet to learn so many things. Right now? I just play music I enjoy.

Are you strictly into djing or do you also produce your own music?

We will have to wait and see.

Which genres do you usually play in your sets?

Amapiano, at the moment.

Describe how you felt during your first-ever set as a DJ?

I don’t know if I can describe it. I cried, on stage and after the performance. If emotional is the word, then it was very that. But the best word would be grateful, for all the love and support from my friends, from people i barely know. Nothing beats love and the energy that emanates from it. Felt loved, it was beautiful.

Who are your favourite producers or DJs?

As far as Amapiano is concerned, Dbn Gogo and Kmat are really up there for me. As women, as producers and DJs. Honourable mentions to Kelvin Momo, Stixx and so many more.

JACK BUDDAH

Have you always known that you wanted to be an artist or is it something you discovered later on?

I’ve always known it, both consciously (in the later stages of my life) and subconsciously (in my earlier years). It’s the only thing that’s ever made me feel alive, well that and sex.

What inspired you to explore multiple artistic disciplines instead of focusing on just one or do you see that as a natural ability?

It’s really not by choice, I just do what my soul resonates with. It just so happens to resonate with a large number of disciplines and if I realize I’m just naturally good at them then hey? Why not.

Are there any particular artists or movements that have influenced your work?

Atlasaaone Molemogi. ATI’s chaos is beautiful, it pushes me to be limitless and be as creative as possible in so many ways man. EMANCIPATE YOURSELF FROM MENTAL SLAVERY is a mantra I live by and will live by till the day I die. Fela Kuti’s artistic approach has also influenced the outspokenness of my work, im a fighter, the descendant of a tribe of Mau Mau warriors, Ashe!

Who is your fashion icon?

Dennis Rodman, the first time I painted my nails I was cosplaying as him for Halloween. I think studying him is the reason why the manner in which I dress seems very outlandish, very ME. I want to be as expressive as possible and no one will stand between me and my true self, Ashe. I think the way I dress is heavily influenced by almost everything I see on a daily basis, The unintentional proportions and natural wear and tear of the overalls on a construction worker, some boots or some that looked good on a stranger passing by. Fashion is beyond the labels and all that, you have to know life before you know fashion. Because what can you express that you don’t know, you know?

You recently did some styling work for thrifty bw at the comfy fashion week, how was the experience and how did that come about?

I was actually called by a stylist by the name of Eileen to assist with styling. I wasn’t exactly sure about how much I was to do but I did way more than I had anticipated, gladly. And I didn’t do bad for my first ever styling gig, also considering I didn’t have too many things to work with and wasn’t aware of what kind of clothing we were to deal with. Shoutout to Eileen because I wouldn’t have been there and met the people I met if it wasn’t for her. But other than that the general experience was amazing, got to interact with fellow models and overall I had fun and that’s that matters. Worked on a video shoot with Ciggaretes and Cocaine right after the show, got close to zero rest, do check the video on his Instagram by the way!!!

A few months ago you introduced us to 7MAG, what do you hope to achieve with it?

It’s more of a concept than an organization or platform. I just want the right people to meet in the right places and make what they’re meant to make. It’s all about the people, I yearn to unite the creative community this side in every way I can and 7MAG is just one of many projects in the works, that’s all I can say for now. Ashe!!!

ST MANTO

What got you into djing and how did you learn?

I started DJing at 9 years old, growing up I always enjoyed watching my Dad DJing and he noticed that I had interest in learning so he taught me and he continues to teach me even after 14 years of being a DJ, I still learn a lot from him, from Vinyl to CDJs, one never stops learning

Which genres do you usually play in your sets?

Amapiano, Afro House(including 3-step) and House music.

Describe how you felt during your first ever set?

I was anxious and uncertain as to how the crowd would respond to Electronic Dance Music, which was what I used to love playing at the time, to my surprise it was well received, despite that I was shaking the entire time.

Who are your favourite producers or djs?

Hardwell, Oliver Heldens, Above and Beyond, MÖRDA, Kabza De Small, Kelvin Momo, MDU aka TRP and Muzi.

Do you play your own remixes during sets or its mostly transition between tracks?

I do play my own production in every single set without fail as well as incorporating other artists tracks, could be a locked tune(unreleased) or released but I mostly prefer playing my unreleased production as well as other artists unreleased production.

PRINCE MARGUSON

Most of your drawings are anime , why is that?

Because I love anime, there's literally no limit or principles to what you can draw. A lot of other art forms hold you back a little, you have to stick to what's real, but with anime/manga whatever your mind can conjure up is real. Also, I'm currently in the process of creating a manga so I'm trying to sharpen my skills.

How did you get into photography and drawing?

I started taking pictures with my phone and putting them on Instagram and tiktok. I had some pretty decent feedback from my audience and since this was something that I loved, I pretty much started honing the skill and nurturing it. I've been a really big fan of anime from a very age. DragonBall Z was one of the first animes I was introduced to. I used to love drawing the characters on the show, eventually i started drawing my own original characters inspired by the anime. I believe that's how I got into drawing.

When was the first time someone reached out for you to work with them?

The first time I was reached out to was when BACKYARD STORIES asked me to shoot for them alongside a couple other great photographers. I was pretty nervous.

Is this your first exhibition?

Yes, this is my first exhibition

Did you specifically create an artwork for this exhibition or are you exhibiting works you've already done?

I did create a specific set of art works I call "every nigga is a star"

Who are your favourite photographers?

Saigo the editor. Gotta be inspired by your peers!

DIGGY

When did you start writing poetry and drawing?

In my teens

What topics do you usually focus on when writing in your poetry?

Love

Is this your first exhibition?

Yes

Would you say its difficult to recite your poems or you don't have a hard time trying to translate the emotions that come with your poems?

Sometimes it’s difficult, sometimes it’s not

did you specifically create an artwork for this exhibition or are you exhibiting works you've already done?

Both

Who are your favourite painters?

Oteng Keabetswe

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Fikile Malikongwa Discusses Her Debut Short Film And Becoming A Creative

Fikile Malikongwa is a filmmaker, model and creative based in London, She recently released her first short film 'Convictions Of An Empath' which debuted at the Raindance Film Festival. In this conversation, we talk to her about the process of producing her film, being in the creative collective 'WISE', her favourite movies and music and much more.

fikile for WISE, photographed by septemberline

Would you say you knew early on in your childhood that you wanted to be an artist or is it something that you learned later on?

It was definitely an early inclination as a child. I’ve always been naturally curious & constructive and imaginative. That is the heart of who I am as a person . Contrary to what people immediately see, I’m a very guarded and quiet individual and I do tend to get shy. I have never been the best at saying what’s on my mind when one first meets me. When I’m creating, when I write or communicate a visual or even a sonic idea, is when I start to feel my most confident. I just soar.

When and how did you move to London?

I first got to London in 2022 for about 3 months to complete a short directing course. After a very painful waiting period at home,I got the chance to relocate here at the end of September 2023, to complete my BA in film practices.

fikile photographed by frank gorski

How is being a creative in London compared to Botswana?

I would say it is different but the tasks and craft of the game remain the same. The audiences can be wider and it is exciting but you still have to fight to get your foot in the door and be taken seriously. The privilege of Gaborone having a smaller community is the immediate reach of your art. But this is a chapter I’m very grateful for. It really means a lot to me, to be confident enough to share what I’m working on now. I'd just like to relate to people more.

How did you learn filmmaking and writing, did you go to school or are you self-taught?

With the script work, I’ve been writing since I was young. Creative writing was a strength of mine in primary school. Editing clips and making use of overlays or effects for personal projects is also something I’ve always been fond of. I was actually interested in theatre and acting before I realised how much I would really love to produce/direct my own work. Drama is just my first love. After graduating high school is when I familiarised myself with editing softwares, the primary ideas of continuity in scenes and different cuts, insert shots, how tedious grading and sound engineering can be. What writing a script for the camera looks like and how actors need to be spoken to. I learnt that sort of work when I enrolled in a film institution in New York after high school. I’ve enjoyed being a sponge to this kind of world. I’m very new it and I'm just getting started really.

fikile for WISE, photography by septemberline

Around 2021/2022, we were introduced to ‘’WISE STUDIOS’’ a collective you are a part of, what is the story behind it?

“WISE” primarily stands for “With Intelligence, Souls Exceed”. The first shoot that we ever brought to life, with the computer monitors was actually the first time that all of us met and spoken in person. The idea of the collective was really thought of by my homies, whom I love dearly. WISE is essentially a creative agency with the expanse for creative freedom. We wanted to start something cool together and we share the same love for multimedia.

Who or what would say has influenced the way you approach your creative process?

I think a lot of my youthful interests and surroundings have influenced me. All of the non-intellectual artsy stuff. I was a very emotional child and I’m a very emotional young woman. I like nostalgic and romantic and painful palettes of life, wherever they lie. Being a young African female creative, yearning for this idea of a fleeting career in film, it is very scary but these kinds of challenges excite me. I’ve always been ambitious and I’ve never been one to take a break from creating, even when I'm at my lowest. My friends at home inspire me. The music I listen to and the conversations I have with them about our experiences inspire me.

a still from convictions of an empath

You recently released a very captivating short film "Convictions of An Empath", how closely do you relate to such an emotionally grabbing story?

I relate very closely to this first short release. I actually first got to know the word “conviction(s)” in a therapy session about two years ago. I learnt that I often lacked “self-conviction” when I spoke about my own experiences or how I've felt about something that I’ve seen or something that has happened to me. And the word empath has always stuck with me because I’m known to be that very understanding person in other people’s lives. The script was hard to flush out because it is a personal piece, but I wanted to focus on the concepts of forgiveness and how non-linear that can be in intimate relationships. Forgiveness does not look the same to everyone. Sometimes it means nothing, sometimes it means everything. I figured that if I want to debut a first film, it had to mean something to me first.

What was the thinking like behind the whole conceptualization of the film? especially considering that it is a short film, what helped you make a storyline that's not lackluster for a short movie?

This is a great question! I think just the time frame that I was given to tell the story. I needed the script to have a sense of a beginning, some sort of an arc where one character doesn’t remain the same, a sense of conflict and a solid ending that kept people entertained. I wrote the script based on conversations I’ve had in my own past, but also things I’ve never gotten to really say. And I figured if I can combine that with the idea of a flashback then maybe it will be good enough for a short piece. I’ve also learnt to start simple. There are so many things I want to accomplish when filming but keeping it simple and cohesive is what works. There is still so much I want to say and put out! And I had to get some sort of cool shots and editing in there without jarring an audience.

How did you find the actors?

Esmeralda and Gelson are two actors in the acting department at a film school in London. I didn’t really have to source them out, even though one of them works under an acting agency. I spoke to both of them over coffee dates and at parties and so, through conversation I just knew that I had to get them in my first film prior to seeing any of their work. I was lucky enough to do this with no needed budget. We all became really good friends, and they were able to approach the script as realistically as possible, and I was happy about that.

fikile photographed by kwami lee

You’re also a model, how did you get into that?

I started freelance modeling in around 2015/2016. My approaches to modelling really come from photographers and very particular shoots and poses that have inspired me. For reference images on set I always go to Cameron Reed, Conor Cunningham, Renell Medrano and Edwig Henson’s work. I had worked with some really talented photographers in Gabs and fashion brands and then there was this really wonderful shoot that I had with Glotto, and Mboko is just brilliant at whatever she touches, it was when I still had my blonde wig phase and after that I started contacting other photographers that I’d longed to work with on instagram and built a portfolio. To this day I think Septemberline has captured my best work. He’s always been far ahead of his time. Current photographers that I’ve come across in London or even New York would be astounded by his catalogue.

What were some of the challenges you faced when creating the film?

Shooting on location. That park scene was shot in February and it was very cold when we filmed it. It was shot at the top of Primrose Hill park, and my sound designer, Elia Cordaro, had an issue with his lavelier mics; so we had to ADR the whole conversation which is essentially when one re-records the entire dialogue in the studio.

How do you handle creative blocks?

I put the creative project away for a while, and try ground myself in reality. I've learnt to release the guilt that comes with taking my time, if I have enough time. Yoga and meditation help to just destress a lot of the tension I hold in. Immersing myself in what’s actually happening around me, going outside. Watching trash tv. When I feel like I’m getting overly intellectual with something I’m creating it helps to stay away from it. Then the inspiration comes back.

What kind of music do you like listening to and what is your favorite album right now?

I listen to a lot of alternative music, indie, bossa nova, baile funk, jazz and hip hop. I don’t have a favourite album at the moment but my playlists heavily consist of Kaytranada, Ojerime, King Krule, Babyxsosa, Naomi Sharon and Clairo.

What are your favorite movies?

Leon the Professional (1994), Before Sunrise (1995), Love Jones (1997), Passing (2021), C’mon C’mon (2021), and Ladybird (2017)

fikile at the raindance film festival screening

How did you get to debut your film at the Raindance film festival?

I submitted it for the student showcase which is during the very last day of film festival programme, where they screened BA films, MA films and a whole bunch of student films. I received an email one day before the screening that mine was chosen to be in the selected titles category. It was a dream, it still is.

Describe the feeling you had when people were watching your first ever film at the theatre?

You know the feeling you get when you’ve finally grasped that one thing that you know you’re really good at? And it feels like you’re flying and like you could do that for the rest of your life? When you’d discovered a part of your purpose. That’s what it felt like. My younger self is astounded.

What's next for you?

Many things, I can only hope. I have a long way to go but I'm happy to be here. I’m drafting a new script, I’m connecting with more black female filmmakers. Another print shoot is lined up. I’m leaving the rest up to life.

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Nthabiseng Faith's Journey of Being A Model And The Creative Director of Kwa Jewelry

Nthabiseng Faith is a 23-year-old born and raised in Gaborone, She is the creative director of Kwa Jewelry, A jewellery brand founded by artist and arts educator LegakwanaLeo Makgekgenene.

She is also a model signed to Kult Models. Nthabiseng has worked with Glotto and LWE over the last three years, curates her own photoshoots, and collaborates with other creatives. In this conversation, she discusses how she got into the model industry, her work for Kwa Jewelry and much more.

How did you start your modelling career, what sparked your interest in the field?  

I actually was never interested in pursuing modelling until later on in life. I've always loved fashion for as long as I can remember, however growing up I had other outlets of expressing myself such as photography, thrift upcycles and writing. I started when a mutual friend (Thuto from Path Images) kindly reached out for a test shoot cause he believed I had "the look". The shoot was surprisingly comfortable and spontaneous for me which I absolutely adored, topped with the very lovely end results. So I decided to research the industry intensively and give it a try with more intention and direction.

Was it easy for you to get comfortable with being in front of the camera or just being around a couple of people during photoshoots when you started modelling?

Yes it was, I never struggled to switch on what I refer to as my alter ego. When shooting the outer world all becomes a blur to me, my periphery focuses solely on the lens plus allowing my body and expressions to flow as one with the camera.

Which photoshoot/campaign that you have done, is your favourite?

I don't quite believe in favorites. I am very peculiar with what I shoot and with who, so everything I have done I value.

Nthabiseng Faith photographed by Juliana Schaller

You are Kwa Jewelry’s creative director, how did that come about and what do you like most about the brand? 

I have previously worked closely with the founder as their personal art assistant, so when they decided to relaunch the jewelry brand I was fortunate enough to be on their mind. Even though I had not done something like this before, they believed in my artistic mind and work ethic which I am very grateful for. Which brings me to your next point, honestly everything the brand embodies is very likeable.

Since joining the Kwa Jewelry brand, how are you adjusting to the role and what have you learned from the experience?

Honestly, the adjustment was seamless. If anything, it just amplified parts of me I kept suppressed over the years. So it has been such a reaffirming journey. I can be harshly critical of my work so the biggest takeaway for me right now would be learning to trust myself despite not knowing how people will receive or interact with the content.

How would you explain the experience of being a model in Botswana, and how are you dealing with it? 

All cards on the table? It has been such a horrible experience for me locally. Again, as previously mentioned I am very particular. So I think that can easily be interpreted as being "difficult" which has resulted in such a disconnect and void. I am at a point where I no longer overanalyze or beat myself about it though. Still very grateful for all experiences, everything is a learning curve.

Nthabiseng Faith for LWE (then Versa La Troy) , SS23 POLENA Collection photographed by goodlivingmedia

Are you a freelance model or are you under management, between the two which is more is easy to work under?

Since I started in 2018, for most of my career I have been a freelance model. However, early this year I got signed internationally with Kult Models in Cape Town. As for which is easier to work under, each has its pros and cons. Also it would depend on your experience and the kind of modeling one does among other thing.

You've modelled for LWE since 2021, how did that come about and did you expect this 'partnership' with Troy Gabolwelwe to continue till now?

Troy reached out to me , which I was very open to without hesitation as I could see his passion and determination. Over the years I have watched him grow and hone his skills as a designer, each collection building towards a very distinctive style which absolutely makes me happy and proud of him. I think we are able to work so well together for so long as we have since built a friendship and connection where we are able to share our dreams and hold each other accountable.

Kwa Jewelry has branded itself as an Afrocentric brand, why did you choose to do so?

(I was not the one that decided on going with Afrocentric elements, I was fortunate enough to work with a team that allows me full creative expression, so my process does get inspired to create and lean more towards Africanity inevitably)

Nthabiseng Faith for Glotto SS23  “Glide into The Last Days of Summer” campaign photographed by Wenzile Dube

How do you balance staying true to your creative vision while also adapting to industry trends

By not adapting to trends. As cliche as it sounds, literally just doing me on a daily. Each day simply aiming to enlighten my creative self through experimentation and execution.

Where do you see Botswana’s fashion industry in the future and what role do you want to play in its development?  

Honestly hard to say but I hope we grow to be open-minded and respectful of all the different roles and of one another within the industry.

 What is the biggest you’ve had moment in your career? 

My biggest moments are yet to come.

Nthabiseng Faith photographed by Juliana Schaller

Who or what has been your biggest inspiration in Botswana’s creative industry? 

Myself.

 What message do you have for young aspiring creatives?  

Do not shy away from being different. With it may come being or feeling alone. Find comfort and affirmation in knowing that despite all of that, there is a tribe for you somewhere out there and someday you’ll know when you have found it. People who will not only resonate with your highest growing self but make you feel seen, heard and understood.

What’s next for you Nthabiseng?

I just know it's bigger and better. Constantly working towards ensuring this.

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Backyard Stories: Conversations With The Performers

In collaboration with Backyard Stories for their 'Neo Soul vs Splash' Jam session, we interviewed the event's main performers to learn more about their interests, journey as musicians, and experience with Backyard Stories.

Backyard Stories was founded in 2017 by Thoriso Bogwasi and John Swaki Lechiile through their love for music and desire to create and provide a platform for artists to share their experiences and creativity in an intimate environment. The first edition of Backyard Stories took place in John Swaki Lechiile's backyard. A very important aspect of the music show is that the use of alcohol and drugs is prohibited to ensure people fully enjoy the show. (source: meraki magazine)

What is your favourite song to sing/perform?  

Ayanda: How does it feel by D’Angelo

Miss OJY: Titles ( it’s an original song that hasn’t been released yet)

Ame Royal: My favorite song to sing, Make Me Cry by Pip Millet...challenges my vocal range

What do you do to calm yourself down if get nervous right before a performance?

Ayanda: PRAY

Miss OJY: I pray and ask the Lord to take over because truthfully speaking, I can’t do any of the things I do without him. I take deep breaths too and remind myself that I’m going to nail the performance and that I am worthy of being on that stage

Ame Royal: Deep breaths, self-affirmation

How would you describe your experience at the neo-soul vs splash jam session event?

Ayanda: It was absolutely amazing I struggled at first because getting to work with a lot of new people is quite hard for me as I’m a shy and introverted person by nature but they were all amazing people who really made it easy to work together and enjoy so it was definitely worth all the anxiety.

Miss OJY: It was amazing probably one of my best performances so far. I had so much fun dancing with everyone and geeking over my fellow artists’ performances. Every single thing about the jam session was amazing truthfully speaking. I can’t wait to attend another one of Backyardstories’ events.

Ame Royal: It was really fun, it felt like one big family at a get-together, the audience was interactive, and the atmosphere too was so surreal..my favorite moment was definitely after singing the first song of the set..my anxiety was high at first but the reception I got from the crowd was amazing...the dancing with the audience too, it was more than evident that everyone was having fun

How did you discover backyard stories?  

MJ Austin: Backyard stories discovered me honestly..But I often heard that there was some kind of event that’s alcohol-free that took place in a backyard

Sarai: I actually didn't know about it until I was inboxed to be a part of the show by the page manager.

Tsholo: They contacted me the end of last year to be a part of the show, which is how l got to learn about them properly.

Which performance would you say was your best and you felt like you outdid yourself

MJ Austin: It would be my rendition of Mon Soleil by Princess lover It was in french and inside, I incorporated a poem and from the planned execution to the real one,i must say,i went all out in pouring out my emotions into that one And the crowd’s response to the performance wrapped it all up

Sarai: I wish-Carl Thomas

Tsholo: My performance of strange by Celeste has to have been my favorite. It was such a magical moment on my end. The crowd seemed to feel the song alongside me. I believe it was good performance and l enjoyed every moment of it.

How would you describe your experience at the neo soul vs splash jam session event?

MJ Austin: Everyone was so friendly and easy to approach The amount of work,dedication,every artist and instrumentalist put into this,is immeasurable and I honestly can’t wait to be part of Backyard stories again

Sarai: Intimate, enjoyable and fun

Tsholo: It was definitely an interesting and exciting, mostly because of the other amazing artist who would give input in the creative process which kept things flowing and interesting. The genres were something new and fresh especially splash being a genre that is as popular amongst young people. It was a beautiful experience overall, everyone from the directors, fellow artist ,the master of ceremonies, the bands and all the behind the scene people really outdid themselves.

What did you think of the theme neo soul vs splash when you heard of it for the first time?

Simon's playground: It was very interesting concept. Honestly i scratched my brain on how its going to work but i made a interesting comparison, being that splash is basically trap but for Africans. The way the beat and bass is arranged simply gave me that vibe. That just made it slightly easier for me to visualize.

Mohau:I thought "oh that's something."I was a bit sceptical of the concept because i had never seen these two genres put together before.

Lemo and Gole: Because we mainly perform pop & mainstream pieces, we were excited for the challenge. To be honest, we had no idea what neo-soul nor splash sounded like so we were definitely in for a shock the first time we heard the music being provided for us

Your favourite performer of all time?

Simon's Playground: Jimi Hendrix

Mohau: Yebba!!!

Lemo and Gole: The both of us listen to very different genres of music. Lemo listens to a lot of mainstream, hip hop- G Eazy being her top pick. Gole listens to indie, the likes of Far Caspian 

How would you describe your experience at the neo-soul vs splash jam session event?

Simon's playground: it was inspirational and such a good learning and teaching curve. it is quite rare to get musicians who sing and play for themselves. it gives one the power to control musical narrative which was definitely the fun part for me. not to mention the many wonderful artists i got to work with. people who definitely made my dream come true.

Mohau: Very exposing - but in a good, growth, leaving the nest kind of way.

Lemo and Gole: It was definitely one we wouldn’t mind experiencing again, minus the heat of course. But we love musicians. That was the best part, networking.

ame royal

The neo-soul genre is slowly emerging in Botswana, who is your favourite neo-soul artist in Botswana and why? : Mpho Sebina..her voice is so angelic and captivating..a lot of emotion goes into all her music..how she excels in other genres too, the versatility is beautiful.

Are you currently working on releasing any music any time soon?: Yes, I've been working on a song titled 'insan3'..it will be released in a few months

ayanda

You’ve performed at quite a handful music events, which one would you say holds a special place in your heart? :So far backyard stories tops the chart by a mile

Are you currently working on releasing any music any time soon?: Yes I am

miss ojy

You are performing for the second time at backyard stories, how was your experience performing for the first time there and when was it? My first time performing for Backyard Stories was during their Harmony Chapter late last year. It was honestly a beautiful experience for me. Having people who barely knew who I was, enjoy my performance to the extent that they did , brought me joy. The backyard stories team made sure that everything pertaining to my performance ran as smoothly as possible which made my job easier. Being able to perform my original song “Titles” for the first time made me very nervous but I got the chance to share my story through the song and I believe that helped me connect better with the audience

MJ Austin

We learned that you participated in my star, which year did you participate and how has your participation in the competition benefitted you as a musician?: Both 2020 and 2023 and from the experience,I’d say i grew vocally,gained exposure and also received opportunities to perform in open mic sessions and of course Backyard Stories

sarai

We've learned that you incorporate RNB soul and gospel music, who or what would you say has influenced you to get into these genres: My upbringing as well as cultivation from my own personal experiences which have caused me to desire to incorporate 2 of my most preferred genres. My biggest influencer is my mother. Rnb has just also been one of the genres I've gravitated to the most from songs I've listened to growing up.

simon's playground

You are part of a collective called Calluses, how did that come about and what do you want to achieve with lebeko panashe and malum carlie in the future? we are musicians with the love of self-expression through our instruments. we are interested in making feel good music that might literally just be instrumentals relative to neo soul jazz vibes. alternative music of sorts. we plan on achieving a place where live music is adored by all. especially underappreciated genres such as jazz, rock, funk, neo soul, etc...

mohau

you are only 17, one would say you are quite early in your journey as an artist, what hopes do you have for yourself as an artist in the future?

I hope to have my music being listened to by different people around the world, not just my music but other projects as well because I want to touch people's hearts with the work of my hands.

lemo and gole How long have you been performing together and what is your favorite thing about performing together?:

We used to sing at our parents’ tuckshop when we were younger But together, with instruments was around 2013 when Lemo learned to play the ukelele

tsholo

Are you working on releasing any music anytime soon? I wouldn’t say very soon but a song is in the works.

Photos are courtesy of @princemarguson, @saigotheeditor and @backyardstories

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On The Rise: A Conversation With Tefoffline

Tefo Kosie best known as Tefoffline is a 20-year-old rapper, producer, and upcoming mixing engineer from Kanye, Ga Maila.

With the release of his mixtape 'Tomorrow Might Be Too Late' last December, he has further solidified his place as one of the most exciting new-age rappers in Botswana.

Where did you grow up?

Well, I moved around a lot when I was growing up you know. Initially born in Kanye, I lived in Gabs for a good 8 years before moving to Mahalapye for like a year or so. Then I came back to the south, living in Molepolole for 4 years before moving to where I live now which is somewhere around the city.

How did you get into music?

I think I've always had a musical inclination from a very young age, mostly because of the music my parents was bumping. I was like 4 or 5 when I used to go into their room and play Michael Jackson and Johnny Mokhali CDs. In terms of Rap and Hip-Hop records, my uncles put me on man. During school holidays I used just get dumped at their places and these dudes was playing a whole lotta rap shit at the time. You know your Lil Wayne, Nicki, Drake and Rick Ross, those are the 4 niggas who properly introduced me to this Hip-Hop stuff. In terms of my rapping, I wrote my first ever rap at 9 while living in Mahalapye. But what had urged me to write a verse was the fact that me and my friends at the time had a thing we did after school where we'd rap and just talk about Hip-Hop stuff for hours on end before we all went home. We used to do like other niggas verse's you know like the stuff that was popular at the time and really just stuff we liked until one day i decided to surprise these dudes and rap my own shit that I wrote. It went as well as expected and I been kickin it since.

How did you come up with the name Tefoffline?

I went on a long ass sabbatical in like 2021 just to get off social media and get my mind right and tbh, that was most amount of work I did, music-wise and just life-wise. Basically, thats where it came from. I felt like I worked better off my phone and the internet as a whole, so I just merged that with my name. It just took me back to how I used to make music before I encountered phones and shit. Back then it was just my imagination, pen, and diary, and I was the most efficient working under those conditions. I think I was going through a name change type situation at the time and I just didn't want a regular name that everybody had or some typical white man's name like nah. I needed to bring it home as well. I like that I included my real name in there because it just added to the authenticity. Real shit.

When did you start releasing music?

I only started dropping music in 2021 and to be honest anytime I think about it I can't help but laugh. I was in the kitchen one morning at like 9am and I was like 'Yo kana I did this other joint yesterday, maybe I should drop it, and I did and it went crazy. I think that when I really decided to go all in after seeing all the good things everybody had to say about my shit.

How would you describe your style of music?

Right now I won't lie i'd say I'm making some real stoner music. Like stoner anthems fr but seriously I'd say it's like a mix of alt-rap with jazzy elements and the truth really. That's what I describe it as because it's really music about my life you know, the ins and outs, ups and downs, the weird shit, everything. I look at it more like confessions in a way.

What inspires the style of music you make?

A whole bunch of things tota. I like music combinations and rhythms that aren't conventional. The regular shit is hard as well but I never really wanna limit my references. Niggas like MF DOOM, Earl, and MIKE been inspiring and continue to inspire the music I been making to this point. If you look closely, all these cats have a thing in common: they produce and rap. So that's the school I came from. Tota hela anything goes with me. I'm a big house music fan as well so I'd say that inspires my shit too.+

What inspired your recent mixtape?

Life has a funny way of showing you who the boss is. I guess I was just going through that shit and decided to document it. Like I said I see it as billy would say, Truth Rap, so for me it was an easy thing to write the records. The hard part was outgrowing the tracks. It's like you can't get that first feeling on a track you've been working on for 2 years so it took me a while to get it done but all in all it was a good experience man. I went through some stuff and if you listen to the music you'll hear it. Everything is on the music.

How was the process of creating it?

Man, it was like any project to be honest. It's like you develop a new love for creating and you're almost always excited for the first few months. But then it becomes routine and it gets mixed up with other bad routines in your life prompting you to try to escape or change that. I ain't gonna lie that shit got me off course for a good while. Just focused on living my life. Writer's block became a hassle at a point and I was nearly like 'F this' but you know, that's how it be. I really had fun man but truthfully I've been over that project for a good while.

Vocal layering seems to be a common aspect in a handful of your tracks..would you consider that a part of your signature sound?

Yeah definitely. I used to make tracks without adlibs and backings cause I had a different perspective on what music should sound like. But you know, with time, you grow and learn and I just decided to incorporate all that into the records. I really love music with good backings and adlibs, not even just rap, so it was more of an 'I'm making the shit I like to hear' type of vibe. That's just how I move with my music. I know what I want in terms of the sonic direction, so I just do it myself. Even with the latest project where that kinda thing is prominent, I knew how I wanted it to sound like 2 years ago. I just had to practice and implement that knowledge. 

Is there anything you're doing apart from rapping?

Yeah, I'm a student currently about to get my bag, soon. I do a little music journalism for my school magazine focusing on music, but besides school, I have a couple of business ventures I plan to implement, especially this year. I'm a business dude at heart, even though I never studied it. I've always loved the fact that you could make money from your own ideas on your own terms, so I won't dwell too much on that but yeah. I also recently started officially heading a little label imprint called 4EVAFADED, which comprises the people responsible for the success of my tape and my music in general, my niggas idyllicsoul and Rxssi on production, as well as fellow rapper NovSon who's a young MC trynna make moves as well. I'm what you call a Renaissance man in a way, I just have a little trouble with laying out all the pieces because it gets messy.

Any local acts that you find exciting?

There's tons; I wouldn't even know where to start. My favorite rappers right now would have to be Nikky Dymondz, banzai, Jesonyana, Chrysus, OneTake 267, and my boy NovSon just to name a few. In terms of singers and vocalists, I have been messing with that Magadi single (Backseat Headrush), Sebaga got some really cool-sounding projects, Fourteen'O'Six is hard af, Courtney got that one track, and how could I forget spacerover and Chubbs (Lucas Chubbs). Oh I fuck with Pablo and Xortic as well. Them niggas is crazy like I won't even say much, but I'm sure I'll be able to experience most of these artists because I was privy to meeting some more amazing acts last year. So maybe my list will change in a few. I just had to give you a few because I can't really think of some right now, but I'm a huge fan of local shit. It really is my bread and butter.

Any thoughts on where the music game is going?

I really think everyone is getting to do anything they want especially sound-wise. I feel like we're not confined to doing what pleases labels or whatever so it's more of a whole group of niggas just making music they really mess with not because they have to make that stuff. So I think you know, with that kind of freedom, the landscape changes over time. I also love the fact that dudes like Saigo (saigotheeditor) have been able to do the photography stuff and shows to basically accompany the music, practically building aesthetics for the sonics, so a big shout to my guy Lerroy, that's my guy.

Do you have anything you're working on right now?

Yeah most definitely, but the stuff I'm making right now I wonder if they gon' like it, because it's some weird shit man. That's all i'm going to say for now. Oh! and I did a couple of features that I hope will be out this year with some amazing artists. Sometimes I don't even believe I did that but you know, I did.

Speaking of features, you are featured on 'The World Is Yours' by Nov Son, how was the experience of working on your first collaboration?

It was really cool. One of the easiest and laid back collabs I did. He hit me up and was like 'We need to get in the studio' and I was down fr. My nigga Idyllic was working with him as well, so it just made things easier but yeah he was recording some songs from his upcoming album and we knocked a couple out the park. Watch out for that project btw. That was also when I met my nigga Rxssi; they was moving as a unit back then so I just decided to mess with them and what they did because normally I just keep to myself and do shit on my own or with like 1 or 2 of the homies. It's a very personal thing for me. People probably think I hate collabs or something, but they're so hard to get done because of the different mindframes, schedules, and shit but I always try to make sure I work with other artists because I believe we work better together.

Stream Tefoffline HERE

Instagram: @Tefoffline

Facebook: @Tefoffline

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Behind The Beats: Hookage's Steady Rise To The Top

photo credits: BACKYARDSTORIES BOTSWANA

In the first edition of our interview series, we have hookage, a music producer/beatmaker born and raised in Francistown and Gaborone. He produces a wide variety of genres. The producer says his exposure to different genres( hip-hop, rap, neo-soul, rnb, deep house, etc.) and cultures nurtured his ability to produce different genres.

He has produced for a variety of artists and musicians locally and internationally, but notably, he’s produced for Kaysotheenigma's “Cherry Bomb,” which won 'Best Female Single' at the YAMAs, as well as three songs off her debut album “Fifth Heaven."

How did you come up with the name Hookage?

So i got the name from the anime series, Naruto but i added a twist to it. In the series, the original word is “hokage” and this is the title given to the leader of the specific village . So i added an extra “o” to honestly avoid copyright infringement issues but the meaning behind the name stands because i view my music and audience as my “village” and it’s my responsibility to take care of them.

How did you get into music production?

It started off as me playing music production games on my tablets as a child around the ages from 9 to 13 because i had always had this deep-rooted interest and passion for music but never really knew how to get into making my own stuff. So in grade 8/form 1, i met someone who taught me how to use Fl Studio and so i started making beats in 2017

We really like your ability to blend different genres into one track, who or what would you say has influenced your style of production?

Honestly, it’s an amalgamation of different producers and artists as i take different things from the individually. For example, i love the way Pharell Williams approaches his beats and certain chord progressions, where with The Alchemist, his ability to chop up samples the way he does or even just finding the samples he does is amazing then artists like Smino or JID, who manipulate their voices to sound a certain way whilst also using their voice as percussive instruments is also insane.

One of our favourite tracks by you is Need U, what's the story behind the track,who's on the vocals?

With that song, the whole thing is honestly a different song that didn’t have any drums on it but just vocals, keys and bass. i can’t even remember the original name of the song but i separated the song into those different layers and added drums of my own. I initially wanted to keep it for myself but i knew i had to at least post it

You've worked with numerous artists across different genres,out of all these collaborations which one would you say is your favourite?

I don’t think i can put a finger on my favorite because we all work together but if i had to choose right now, it would have to be spacerover and lucas chubbs

Which artist would you like to work with that you haven't yet?

There are so many artists i really want to work with atm but for now it would have to be K.alahari without a doubt

Before you performed your set for Backyard Stories, they revealed that you learned how to dj with vinyls from your dad, how was the whole process?

So it’s an interesting story because my dad and his brothers are all former Djs but had their own preferred genres hence why i have the variety of genres between house, hiphop, rnb etc. It was mainly my dad teaching me but the whole process of actually using vinyl was hard but i caught on quickly because i never used digital djing software so i had nothing to reference.

So Botswana was recently introduced to the music collective 'Ascension Pleas' and how it came about but, we'd like to hear from your perspective about how you met the others, your music production process and how being part of the group benefits you as hookage?

So as we explain prior, it really was just coincidence because we didn’t really even have a motive to be at UB apart from rehearsals for Pablo%8’s show that week and we then just decided to work on something. In terms of meeting them, i had already known banzai the longest as we already been working since 2021 but i met Lucas Chubbs and spacerover last year, same with briann bc but that we met at UB was the first time me and BC (briann BC) made music together. For the time being, i usually just give them old beats i didn’t have use for but recently we’ve been working hard with the new beats i’ve been making. I usually make a beat then send it to them to see if they feel it then the decision is made whether to use it or not. Me being apart of the group let’s their audiences become aware of who i am and possibly follow me in my journey and on the other hand, it let’s me share my love for music with like minded people who i can consider my friends and that deep love for music is something you can’t share with anyone

A lot of new generation artists and creative platforms have been emerging in Botswana, which one would you say has stood out the most?

I would firstly say you guys because i’ve seen you guys grow so rapidly but it’s because of your authenticity. Other artists that have really caught my eye are borus, chrysus, emo, mantra, magadi. there are so many more but they’re just a few to name

Favourite producer from Botswana?

it would have to be Simba the Indigo, one of the members of K.alahari

Out of all the songs you produced, which one stands out the most to you?

It would have to be some unreleased, song name titled “Honesty” which will feature on my debut album. It might be my best produced song at the moment

What's next for you, Hookage?

I’ve been quietly working on my debut album which is set to drop next year. This album is what I’ve been working on apart from working with other artists, just slowly piecing it together and it’s going to be a great start for me to establish not only as a music producer but an overall musician.

instagram: @hookagesamaa

stream hookage: campsite.bio