Yo! Corporate Nemesis is planning to have interviews with some of our favourite artists real soon. We'll post them up, in audio form, once they are done. Look out for chats with Skebza, San the Instru-Monumentalist, and possibly Konfab.
Talking about San, here's the finished product of RE-Invention: A producer's album. Check the facebook group to get the full list of producers, and to read further about how the whole project came about.
I've been keeping mum for over a month, but it's [partly] not out of my own doing. I did an interview nearly two months ago with Cape Town hip-hop crew Ill-Skillz, and have been waiting for their management to approve it ever since. The guys promised to get back to me after they'd checked it out, but that still has not happened to this day. So, pending their approval, let's talk about other things.
Corporate Nemesis has been a constant supplier of jingles across a number of radio stations in Lesotho. We've formed a number of alliances with deejays, but the strongest thus far is that with DJ Dallas T, who hosts the afternoon drive show on Lesotho's premiere youth radio station, Ultimate fm. We've got a segment on the show called the "Fifteen Minutes of Fame" in which we prepare fiteen-minute hip-hop mixes which are played from Tuesday to Thursday. That has been going on for about a year and a half now.
We also produced and presented another segment called the Artist Feature in which we interviewed people in hip-hop who are making moves. That came to a halt earlier this year. However we are back again, and this time around, we are doing a hip-hop chart show called the Home-Brewed Five; it is on every Monday from 1730hrs to 1800hrs. We're only in the fourth week, but the reception has been pretty dope. The concept is to playlist five hip-hop tracks which just happen to be made in Lesotho, and let people vote for their favourite songs. The two songs which get the most votes get to hold the number one and two positions on the next week's show. The other three tracks are randomly selected.
The Nemesis RE:publik t-shirt range has been doing rounds amongst a selected few people, and everyone who has seen the designs is showing much love. It is quite inspiring, and motivates us to put in more effort into producing doper designs. The I AM FRESH range (code# Rep_001), is nearly sold out. No more of it shall be printed; if anyone wants that particular design, they shall have to pay a premium price for re-print. The next range shall be ALPHABET SLAUGHTER (code# Rep_002), so be on the lookout for that!
The Corporate Nemesis website is up (click here). We are still working on a theme, but shall be updating it every now and then in the interim. Keep checking it out after a while; we shall also put up podcasts of the Home-Brewed Five show.
Lastly, San the Instrumonumentalist from Other Intelligences has been on a grind this year, releasing singles and beattapes for all who care to listen. He has also been coordinating a remix project which sees producers from Lesotho, South Africa, and Zambia collaborating to do some re-workings of hip-hop classics from yester-year. The full list of producers on the project is:
What's good people?!! We've decided to do the second part of our on-going review of The Cipha documentary which features a range of emcees from the LES. The clip under dissection today features Anonymous, who needs no introduction since I've talked at length about him in previous posts. Please note that we've posted other segments of the documentary on our Youtube Channel; you can gladly go there to view them.
We shot Anonymous' scene on the same day that we did Blitz' and Kislev's scenes. The latter two shall be reviewed in due time, but I reckon it is a significant point to note since the three emcees' appearances are interspersed within their respective scenes. For instance, Kislev can be seen on the last shot of Anonymous' scene. Incidentally, they were also the first scenes that we shot and edited, and, to our eyes at least, the level of experience is quite evident. Some of the techniques we used make for quite interesting viewing tough!
This part of the documentary opens up with a video we shot for Anonymous. In it, him and Sanhedrin (from Other Intelligences) happily sit in front of a shop while munching on some fatcakes and kicking freestyles. The video then progresses into other scenes which deserve a totally new post all on their own. For the sake of this review, I shall not dwell on them. The narrative gels in well with the different scenes as the narrator tells of Anonymous' maturation over the years, using phrases like 'prolific rhymes and style' to bring to the viewer's attention this emcee's genius.
This has got to be the most left-field of the emcees we managed to interview while compiling The Cipha. He talks of the perfect cipha as taking place during night-time when zombies and wolves come out to play. The snare will be provided by some other-worldy figure hitting a spade against a huge chunk of metal, and an eyeless figurine would be centre-stage, ripping his fair share of the microphone apart. I don't know about you, but that is some pretty hectic stuff, legendary indeed. It is just a whole lot better when you view it yourself.
After his anecdote, the documentary cuts into a cipha scene where Anonymous himself is representing, bringing lines like:
"Kicking freestyles is what I do per night see/ I'm kicking freestyles on a super-mic/ you can't touch this/ Anonymous I am the roughest/ and if you look in my eyes, you'll see enough shit".
Stylistically, we went for pretty interesting edits as mentioned earlier. We had just discovered how to do the split-screen effect, and made very prolific (if I should say so myself) manipulations of it. We also put the mirror effect to good use by taking a single shot and pimping it so that it seems as though the scenes were shot at different times, albeit with duplicate hand motions and all. Once again, it makes a whole lot more sense when you view it yourself.
Anonymous' scene ends with another cipha. We went into the crates and dug up a gem we took the day Dunamis was shooting his "Mastered seed" video; we'd decided to go to the location just to show support. Hymphatic Thabs, who is the video's director, joined us in the cipha, and we all had mad fun. Shout out to Matz and Karabo who were also with us. Anonymous' genius is revealed as he freestyles lines like:
"You can't have it/ cuz now it's mine, under my matress/ I'm that kid who comes with that black magic/ I stab anthems/ I kick freestyles and, you can't imagine the stuff that I come with/ you know that you new to here/ I cut your head off and take you to souvenirs.../
Check out the clip in question below, and please leave your comments. We will highly appreciate your support. Peace!
What's good people??? Great! I thought I should share this great newspaper article on Phil the Kritik with you all. The interview was conducted by Sechaba Keketsi for The Weekly Mail. Read on...
One cannot help but get their ears glued to the speakers when pumpin out Phil the Kritik's production. Sechaba Keketsi, Weekly Mail reporter, took time out to find out more about this talented, hardworking produer.
Sechaba Keketsi: Sir, can you please introduce yourself and tell us what you do?
Phil: My real name is Philip Lionel Luru. I am originally from Uganda, but have been in Lesotho for about six years now. Basically I am a produer/beatmaker, and also a graphic designer.
SK: When did it all start for you?
Phil: It started back in 2002, but I was not really serious then. In 2004 I met Core Wreckah, whom I have been working with ever since. So I actually immersed myself into production in 2005. The very same year I met Skebza, who greatly helped me to acquire necessary skills.
SK: You said you are a beatmaker/producer. Do you mind shedding light on the difference between the two?
Phil: A beatmaker, as the name says, is someone who just makes beats, while a producer makes the beats being the sound engineer, the composer, and manager. Hence, the producer shapes the music.
SK: Thus far, who have your worked with (locally and internationally) ?
Phil: Locally, I have worked with Core Wreckah, Mic Vandalists, Codi Cox, Z-Digi, and Mpho Brown (Poltergeist). Internationally I have worked with people like Hasty, Merel, Trompie, and the Academics from the US.
SK: What do you think about the standard of music in the country?
Phil: We have talented artists down here, and there is progress, but some people are less determined to come out and show off their work, while others are lazy to put more effort into perfecting their work. All in all, one could safely say that we have a long way to go. One thing that can also weaken the standard of music is lack of competition. Without much competition, artists and producers are likely to realax in lieu of working towards sharpening their skills.
SK: What major challenges do you come across as an unsigned producer, especially based in Lesotho?
Phil: The main challenge is that of distribution problems; every cent spent to burn CDs, print sleeves, and distribute the full product comes from my own pockets. Due to that, progress is greatly hindered. The second challenge worth mentioning is the lack of proper recording facilities. As a producer, I am negatively affected by that.
SK: I was fortunate enough to have watched Corporate Nemesis' documentary entitled "The Cipha" in which you feature. One thing that you mentioned that caught my interest is something about producers regularly meeting. Please clarify.
Phil: What I was talking about was a case where producers regularly meet to exchange ideas and skills, and show each other different useful techniques. In countries like the US, you find that many different producers come together to hold what is known as Producer's Conferences. It is in these meedtings that they learn new techniques, know each other, and exchange beats. If such conferences were held down here, our standards would rapidly improve...
To gain full access to the article, click here. Check out Phil's segment on The Cipha below. ONE!!
Yes y'all, this is just an update on the whole t-shirt situation I posted about here. The t-shirts have been printed, and are looking good. In case you want to place an order, leave a message/comment on the blog and we'll get back at you. Alternatively, go here to join the Nemesis Republik group on facebook.
Code: Rep_002
In true CorporateNemesis style, we've decided to share some of the designs with you guys. I personally think they rock, shout out to Fairo!
Yo, peace to all. Nothing much to say really, just wanna drop this clip of a freestyle session featuring Core Wreckah with emcee extraordinaire Anonymous. The beat's provided by Dim Light. Enjoy!
Yo!! Hope all are still well in this field of life. The post today is centred around the first part of 'The Cipha'. I shall walk you through what went into shooting the scenes, and how they were put together. So, hang on, and enjoy the ride.
The scene opens up with a shot of the National University of Lesotho's main entrance, then cuts into the first emcee to bless the documentary, Black Ice. We shot the scenes with a beatmaker called Symptorme (nuff shout), who assissted with some of the camera angles. During editing, we managed to get hold of some old footage which had Black Ice on it, and it became a perfect fit into the whole plot.
After a short interval/break in transmission, the documentary cuts into a scene of Black Ice spitting freestyles (something the man does quite well). The reason for this stylistic decision is that we had edited the second part of the documentary prior to the opening scene; actually, the opening scene was dictated by the narrator's script, which, by the way, wasn't scripted at all! This was another stylistic decision - to keep true to the tradition of the cipha, it was only fitting that the narratives should be freestyles.
Another break in transmission comes after the freestyle, and the documentary proceeds to the section where Black Ice breaks down his definition of the cipha. We used two cameras (another one courtesy of the man Symptorme), so the different angles make for quite an interesting view. Poisonfoul, another emcee from Lesotho, sits in the background as Ice carries on with his thoughts.
Black Ice's scene was one of last parts we shot for the documentary, but ended up being the opening part. We had already gotten the hang of the editing software, so for the hallway scene where he's freestyling, a split-screen stylistic effect was chosen. I find it quite amusing how people who have seen the documentary in my presence become boggled by this particular scene. Secret: well, there is not secret at all, we used two cameras - camera1 on the left side of the screen, and camera2 on the right, on either side of the emcee. One can even see Symptorme holding his camera if proper attention to detail is paid.
The documentary then reverts back to the interview where Black Ice continues to explain what the cipha means to him, amidst noise from a passerby truck (the joys of filming outside!). All in all, that's a bit of info on how this first part of the documentary was put together. If you dig it, leave comments. Please forward any questions through, we'll be happy to answer them.
