MUSIC: AFRO PROG ROCK 92
BLK JKS
HOMEBOYS TO ROLLING STONES South of the sun, rules yet unspoken are made to be broken and as JEZEBEL discovers, the indigenous, aptly dubbed BLK JKS are singlehandedly seducing the world by doing whatever they please. IMAGE:
image courtesy of just music
Like their botanical namesake, the BLK JKS (pronounced black jacks) are wild and sticky, and while Johannesburg is their home, they like to take their talents travelling. First stop: New York; next step, the world by tour.
On the topic of being South African poster boys, Mpumelelo is mildly amused. “Well, somehow by default we’ve found ourselves to be representatives. We don’t feel we are, but others − the more politicised – say we represent South Africa, or Africa.”
Run traditional African music genres through stock rock standards, take out the vowels and replace them with the names ‘Molefi Makananise’ (bass), ‘Lindani Themba Buthelezi’ (lead guitar and vocals), ‘Mpumelelo Mcata’ (rhythm guitar) and ‘Tshepang Ramoba’ (drums), and you have a sonic, global mix-and-match − they’re from South Africa, based in the States and now signed to credible, American indie record label Secretly Canadian Records. Even if you aren’t confused by their worldwide wanderings, the kings of calamitous compositions and calm fusion are notorious for a dense and riotous, delicate and ruminating mishmash of afro-jazz-prog rock that’s hard to describe and harder to place.
So why the move? “Someone once told us that we were gonna starve if we stayed here,” explains Molefi. A few years ago when we first interviewed BLK JKS (in Issue 02 of one small seed), they had around 200 hits on their MySpace page. “We’re still struggling,” said Linda at the time, “and we don’t know about any buzz around us.” Four years later, they have almost 300 000 profile views and a major international following.
We chatted to two of the homemade hopefuls − Molefi and Mpumelelo − between sets, and asked Mpumelelo why everyone struggles to describe them. “We don’t really try to do anything. We do us,” explains Mpumelelo. “We do ourselves. People will name things the way they want − to fit things neatly into a space. Those who’ve been to our live shows will see it’s a little more complex than that because we’re being honest and saying how we feel.” One of the obvious observations is the parallel between them and other black male music icons like Jimi Hendrix and Keziah Jones (Nigerian singer-songwriter-guitarist). Whether it’s the racially sensitive superiority complex of global media or the mere magic of musical talent obliterating perceived and projected social boundaries, outspoken men of colour mixing genres grabs attention. They’ve met Keziah, and Mpumelelo thinks “he’s pretty versatile. He’s doing his thing.” But Jimi sparks another thought on the issue of colour lines and song lines. “It goes without saying, when you talk about electric guitar you have to think about Hendrix. He set the precedent. We have to look at how relevant he was for his time and his space. Kids shouldn’t be thinking about redoing Hendrix’s style; he was breaking down barriers. It’s about looking around and feeling and seeing your own space honestly. And pushing upwards.” 92
one small seed
BLK JKS are not sold on the idea that their musical impact is entirely due to sensation, but Molefi admits, “You can’t deny all that coverage didn’t throw in a little something.” “The people who gravitate towards us gravitate towards the music,” adds Mpumelelo. “We’re open to what people have to say. We’re always looking forward to sharing, for the different reactions.” The bottom line? “I think it’s more the music we make.” For them, the best part of all these interviews is “just getting the word out. Being able to talk to more and more people.” “We’re very much into togetherness,” grins Mpumelelo. And together with The New York Times, the UK’s Guardian, our Mail & Guardian, Dazed & Confused and Rolling Stone (among others), the band have spread their message across the literate world and are currently on a global tour. Molefi gives an itinerary. “It’s gonna be an in-and-out situation. Our name is in New York, and SA is our home. We toured the States from September ‘til midOctober, coast to coast and did a little bit of Middle America. Then in late October ‘til November we do the UK and Europe. January 2010 is Australia. February to March 2010 is Asia.” So they’ll be back? “Ya,” promises Mpumelelo, “to regain the strands. Home is home. Home is where the party’s at.” www.blkjks.com