Gazelle & Invizable's Concept Album 'The Rise & Fall Of An Empire'

Gazelle discusses 'The Rise & Fall Of An Empire,' his new eleven-track concept album with DJ Invizable.

South African producers Xander Ferreira and Nick Matthews are the masterminds behind an avant-garde dance music they've coined Limpop. Back when they recorded and performed together as Gazelle, the duo dropped two stellar releases and set out on an ambitious "Kalahari Safari" tour of Europe. The band has since broken apart, with Ferreira (under the solo moniker Gazelle) now based in NYC while Matthews focuses on his DJ Invizable project in Cape Town. Nonetheless, the longtime production/performance partners came through last week with surprise material and news that this month they're unveiling a brand new full-length, Gazelle & DJ Invizable's four year undertaking The Rise & Fall Of An Empire. A departure from their previous electro-leaning sounds, "Visions" was the first taste to come from the eleven-track concept album, which will be accompanied by an entire "scene audio visual story" (featured in the gallery above). In an Okayafrica exclusive, Gazelle (Xander Ferreira) sheds light on The Rise & Fall Of An Empire. Read on for our full Q&A and watch the first five videos from the project below.


Okayafrica: For those who might not know, who is DJ Invizable?

Gazelle: DJ Invizable aka Nick Matthews was my production and performance partner and the other half of the journey of Gazelle & Invizable. From the house scene in the early 2000's he made a name for himself in the dance clubs of Cape Town, South Africa.

OKA: When and where did you start working on the album together?

Gazelle: After our first album Chic Afrique and remix album The Revolution Will Be Remixed that came about from collaborating with artists touring around Europe we wanted to create a 'grand live show.' After a show in Paris I was approached by one of the directors of the National Theater of Germany in Mannheim that came to meet after reading a project I published named The Status of Greatness on the strategy of social political behavior. He asked if we could create a stage show for Schiller Tage Theater Festival that revolves around the philosophical theories of Friedrich Schiller. This set us on a journey to create a project that took place over 4 years traveling around South Africa compiling an 'African Orchestra' to create a stage show and the music for The Rise & The Fall of an Empire.

OKA: What were your original plans for releasing R&FOAE?

Gazelle: We planned to put it out with a label of some kind, somewhere but in the end after years of creating and the obstacles of finishing it we broke apart the band before we could ever set out to perform it. After it being mastered and on ice since 2012 we decided to just share this creation, story and commentary open to all to experience without ever selling it.

Why did you decide to start uploading the album? How did your experience with the music industry play into your decision to make the album free to download on soundcloud?

Gazelle: Having the fortunate success to perform in over 15 countries and multiple chart topping songs and never really making much money from sales or licensing we decided the message in the project was too dear and important to us to have to try and make a few bucks from.

OKA: What is the message behind the album?

It is an exploration into the infinite ongoing cycle of life through its various phases, wether it be a society, an individual, empire or organism. Through life and death, fulfillment and rebirth. The innate structure that life itself revisits in every cycle metaphorically visualized and experienced through song and visual. Where it begins it ends and repeats.

OKA: "Visions" sounds like a slight departure from your Gazelle songs. Are there new influences on this project?

Gazelle: It is rather a slight evolution from the first album we made together, Chic Afrique, where we really delved into a much larger production with multiple live instrumentation and mixing this organic traditional African sound with classical instruments such as electric guitar and more contemporary electronic synths and beats. So you can say for the first time we had some cash or connections for a big fancy studio where we could record and mix. The Red Bull Studio in Cape Town gave us a head start on the journey to do various of the primary recordings there.

OKA: You mention these are visual, as well as musical, performances. What will the visual aspect of the project consist of? Can you expand on the hand-drawings in the "Visions" video? Will the rest of the album's visual output be similar?

Gazelle: Whilst on tour in Vienna we crossed paths with two amazing creators, Constantin Demner and Sarah Littasy from Studio Elastik with whom we set off on a 3 year whirlwind relationship around the globe. They committed to creating a visual interpretation of the album that would become the most incredible art piece that was created out of illustration and built into a 3d object with paper. Various friends like Gregor Lehrl from Affine Records helped to film and edit this artwork into an experience with which we release the songs. This artwork is 11 individual album covers or sets that together create a panorama to tell the story. During the course of the next weeks we release 2 songs per week which in the end creates this 11 scene performance.

OKA: What else has Gazelle been up to these days? Any projects we should look out for?

Gazelle: Ive been based in New York the past couple of years writing and producing the first album under my own name as Xander Ferreira. Its been a real growing experience with the greatest team and band that consists of Steve Williams on drums that played for the likes of De La Soul, Sade and Digable Planets and Paul Frazier on Bass, that played with names such as Michael Jackson, David Byrne and Digable Planets. We just started rehearsing to be prepared to perform the new material around the US in the upcoming months. Whilst this hiatus from performing I also teamed up with British troubadour Findlay Brown to create a DJ collective and party named The Happy Show which focusses on African music from the 60's, 70's and 80's. During a Happy Show in Mexico City we spent some time in studio recording and producing a new psychedelic project called The Masquerades from which we are releasing some songs in the weeks to come. Look out for the full album, which will be available for free download on soundcloud, later this month.


Look out for 'The Rise & Fall Of An Empire' in full later this month. For now, watch the first five tracks below.

Track 1 – "Visions"

Track 2 – "The Path" ft. Season Marimba Stars from Gugulethu

Track 3 – "New Beginnings"

Track 4 – "Rise of the Emperor"

Track 5 – "In Need Of A Leader"

Photo courtesy of Sam Soko.

Interview: Sam Soko is the Kenyan Director Behind Sundance Hit, 'Softie'

We meet filmmaker Sam Soko who has made a stirring documentary about the Kenyan protest leader Boniface Mwangi

Filmmaker Sam Soko didn't intend on making a documentary about Kenyan photojournalist-turned-politician Boniface Mwangi.

The original idea he had was to make a manual of sorts, a short video guide, on how to protest, the do's and don't's. Soko, himself an activist artist who cut his teeth convincing friends to let him create political music videos for their apolitical songs, knew Mwangi's experience on the streets both photographing protests and staging them meant he had a lot to share with others.

But then came the blood. A thousand litres of it, to be precise. And the pigs. Dozens of them, with words like MPigs written on them. Like the graphic photos Mwangi had become known for taking—it was a sight you couldn't look away from. It was a protest Mwangi organized, in 2013, to decry corrupt members of the Kenyan parliament who had decided to increase their salaries, 2 months after taking office. And at his side, through the thick red liquid of it all, was Mwangi's wife, Njere, ready to be arrested with him.

"Once I was witness to his relationship, I started seeing him as a family man," Soko tells OkayAfrica. "Because he's planning a protest and all, but when you look at the footage, you start seeing the kids and you start seeing Njere. That's when it started hitting me, in the sense, that she was with him in such a crazy space."

Soko formed a creative and activist hub, called PAWA 254, with Mwangi, as they became part of the groundswell demanding democratic reforms in a country still left scarred from the division sewed between Kikuyu and Luo people by British colonizers. "We had a new Constitution at the time, and there was this hope that we finally could picket without being tear-gassed or being beaten, Like, our civil liberties could be held up." Instead, the government strengthened its police force into a notorious organization condemned by human rights activists. "That's very salient in the film," says Soko. "If you see how the police dress, for instance, at the beginning, it's very different; they become more militant towards the end."

Soko's debut feature-length documentary, Softie, which became the first Kenyan film to ever premiere at the Sundance Film Festival, earlier this year, is at once a love story between Mwangi and his wife and their three children, but also between Mwangi and his beloved Kenya, under president Uhuru Kenyatta. Central to the film is the tussle between how these different loves bump up against each other: what comes first — love of country or love of family?

We spoke to the Nairobi-based director about making the film, which opens in virtual cinemas, starting this Friday, September 18th.

Boniface Mwangi with his wife Photo courtesy of Sam Soko

OA: Early on in the film, we learn how steadfast Boniface Mwangi is — he talks about being willing to die for the ideals he believes in, which made me think of Nelson Mandela and his Rivonia Treason Trial speech. Boniface is someone in the present day who still shares this belief?

When we were working on the edit, and kind of crafting and thinking about what the story was going to be, something that we found that was really, really interesting is, with a lot of the stories, like the story of Nelson Mandela, you'd never see the other side. That's something we see later, up ahead, as a retrospective. We'd hear about Martin Luther King and then we'd read about Coretta Scott in, I think, 1990, like, 'Oh, this his was her struggle.' That sort of thing. But for me, Boniface and Njere represented a present day reality struggle that showcases what Mandela was going through, what Martin Luther was going through. That was kind of like unravelling the curtain; when you see Martin Luther marching, Coretta's at home, trying to help their kids do their homework. And this is the reality.

OA: And the film poses that question of love for your country versus love for your family, and which one should come first?

Exactly. They see it in different ways. Boniface sees it that if you improve the country, you improve the lives of those who you love. Njere's like, you have to have your family's back first. And that means everything else comes second. And she's right; she's not wrong. And he's not wrong.

OA: The film really is privy to some really private moments in Mwangi's life — how did you gain his trust?

When we started filming the short video, he was really involved with the protests, and we started doing the protests with him. So we were—quote, unquote—in the trenches with him in the protests, and somehow that's how he kind of welcomed us to his home. When you've been with someone in the streets, and you're tear-gassed together more than once, you already have a common bond. But then I started developing a relationship with him that was beyond the streets. Just checking up on him and asking, what's going on, what's taking place? That sort of thing. I think it took a while. And I think even from Njere, we kind of developed a kind of camaraderie that was separate from my relationship with Boniface, because I would actually be like, 'Hey, he said that, how does that make you feel?' And not necessarily on camera. But over time, he kind of accepted us to be there with a camera. At some point, I kind of felt like they were talking to me, and not necessarily the camera; like, the camera is kind of this thing that's there, but not there. That kind of trust, again, was built on a respect that I have for them and their values and what they're doing. I think that's something they saw. It made them trust me with their story and trust me with their family.

You're the director of the film, but you're also producer, writer and cinematographer. Did Boniface's own style as a photojournalist influence you in any way?

The film has three cinematographers, and a lot of my cinematography is within the intimate moments, because that's when they would only engage with someone they trust. But him being a photographer actually, to a point, made the work a bit hard because he's constantly looking at how you're doing it. He's in your face about the angle. He's like, 'Hey, why are you standing there, you should be there.' But in some places he did help 'cause he's been filming in the streets and filming protests for a very long time. So when you're there filming, he'll easily tell you, 'Dude, don't stand there. They're about to start tear-gassing. Go to the other side.' And it's weird, when you're on the other side and you're filming, and all of a sudden you see tear gas, you wonder, 'How the hell did he know?' You do that 234 times and you start knowing yourself, 'Oh, this is how,' and he was really helpful in that sense.

I can imagine that filming during the protests must have been one of the big challenges of making this film but what else did you struggle with? There were death threats for Mwangi, did that happen to you as well?

It's so funny, when you're filming and when you're in the protests, it's adrenaline talking. So you're not really thinking about whether you're going to be okay. This one time, I got arrested because the cop said I was a spy for the protesters. [We had everything] from cameras breaking to sound equipment messing up, but when it became a more political story, with death threats, it became scary even for editing the film. Because you don't know who's watching you. This one time, I was with him in the car, filming, and we were being followed. So we kind of had to be very careful who we are telling about the story. It was a very deep secret that we were making this film and there are people who are watching it now asking, 'How could you keep this from us from all these years?' Because we had to do that. Especially when the family was in the US. We had to do that for the sake of safety for him, Boniface, for his family but also the film team. I remember doing the pitches with different names. But then we were also lucky that we had our co-producing partner in Canada, Eye Steel Film, so they were able to house the edit there. I went to Canada to edit and that kind of also gives you a kind of freedom to think and work and create. That was the reality, and now I think we have PTSD from the film. I can't film another protest. I'm sorry. I'm out. Like, it tapped me out.

There are similarities to the Black Lives Matter protests here in the US, against police brutality and violence but the slogan takes on a different resonance in places like Kenya, where the police force is particularly heavy-handed. How do you see these protests as being similar but also different?

There are two things that you learn with the film. One, our voices can never be silenced. They will try, but I think humanity is like a pressure cooker. The more you boil us, the more you put that heat, the more explosive we become. And through people like Boniface's life, you see that there are human beings who exist, who do extraordinary things.

The other thing is the idea of activism doesn't necessarily just speak to the person who's on the street. It doesn't necessarily speak to the person who's holding the placard. An activist is someone like Njere and her life, and her family. And Khadija [Mohamed, Mwangi's campaign manager]. She's such a strong and powerful activist in her own right. She was Boniface's campaign manager for free. The work they did was so powerful. And you have these other people in the background who are doing such incredible things. The sum total of what they've done is [to] instigate… We have an election next year, but I am so sure that we are going to have so many candidates who are going to be like, 'We want you to donate to our campaign. We have these values and beliefs; this is what we want to do.' That is how we need to go about change or add on to the conversations of change.

The same thing that's happening with the Black Lives Matters movement. Yes, there are people going to the street and we should keep going to the street. But we need to push people to engage in policy and make sure these policy changes are made.

We need to stand for what we believe in, as filmmakers in spaces where we feel oppression exists. Like the rules that have come out with the Academy Awards, these are rules that should be celebrated because they add on to that conversation of diversity and representation. All these things—that sum total—is what makes the difference. It's going beyond the streets and going beyond our Tweets, going beyond our Facebook messages, making films and sharing films. We just need to keep pumping up the volume, keeping the heat up, keep pushing. It's gonna take a while, but we'll get there.

Photojournalist-turned-politician Boniface Mwangi during a protest in Nairobi, Kenya Photo courtesy of Sam Soko

That's where you as a filmmaker come in—this film was the first Kenyan film to get into Sundance, where it won a special editing prize.

There's another film I'm producing and, and, yes, I had my film at Sundance, that's great. But there's this other filmmaker who's making another film, and it's so cool, and this is the thing—we need to keep bouncing off this energy and this light and this vibe, and just keep pushing and making sure that the wheels keep turning. That's what we're all about.

How do you renew your strength, as a filmmaker but also as a Kenyan and as an African?

Being a Kenyan is hard. I think being an African is hard. Like, it's hard. There's a line I heard Boniface say once: 'I love my country, but I am afraid of my government.' But the way in which, personally, I find energy is when I meet new filmmakers, or you know, people who are like starting out and they want to make films that sound totally crazy. And they believe that they can do it. And I'm like, 'yes, yes, keep going!' We are planning to do a premiere. We have not confirmed the date yet but we're thinking it's around going to be early October in Kenya, because Kenyans haven't watched it. The government gave us an adult rating. They're putting us on the same level as porn.

This is the same government that banned Wanuri Kahiu's Rafiki because of its homosexual theme…

Exactly, that's what we're getting but the lemonade that we've made out of all this is, 'Guess what? This is cinema!' We're going to take it to a cinema. People are going to come to watch it in a cinema or watch it at home or watch it in the best way possible. And the people who've watched it have appreciated it as a film and a story, and their story. They've seen a reflection of themselves. That gives me so much joy because the Kenyans who've watched it, when they give you feedback, they say, this is truth; this is our truth. And they don't see just an activist. They see a couple struggling with love. They see our history in the last 10 years. And they're like, 'What the hell, we lived this?' and they see the things that are unresolved — and many things are unresolved. Seeing that reaction gives me so much strength and hope. But it's hard. It's very hard. Because, you know, you have to wake up and see the policeman getting a bribe. And you're like, 'Homie??'

"SOFTIE" Movie Poster

Watch the trailer for Softie here.

Softie | Official Trailer | A film by Sam Soko

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