Warrick Swinney (born in 1958), more commonly known as Warrick Sony, is a South African composer, producer, musician and sound designer. He is the founder and sole permanent member of the Kalahari Surfers. They made politically radical satirical music in 1980s South Africa, and released it through the London-based Recommended Records. During this time the Surfers toured Europe with English session musicians.
Sony/Swinney produced albums, and ran the Shifty Music label at BMG (Africa) for two years in the mid-1990s with a passion for pan-African music he developed and imported records by many then unknown African artists. He was responsible for signing, for the Shifty/BMG Label Salif Keita's seminal Soro album as well as albums by S.E.Rogie (Palm Wine Guitar), Kasse Made (Foro)and Ray Lema (Medecine); all now rare vinyl for the collector.
Sony/Swinney has also worked as a film sound recordist, sound designer and sound artist and eventually after a hijacking incident moved to Cape Town with the Shifty Studio. Based in the city, and working at Milestone Studios from 2000 to 2018, he worked in the commercial sector on film, ads,radio,theatre and released more Kalahari Surfers albums. He moved into more specialised work in sound art, music and DJ events in the city and was accepted to do an MFA at Michaelis School of Art University of Cape Town where he graduated with distinction in 2020. During the following years he taught sound-art courses at Michaelis and worked towards a PhD with a 2020 Andrew W. Melon Foundation Fellowship. He completed this in 2024 at the University of the Western Cape.
Early life
Sony was born in Port Elizabeth on 12 September 1958.[1] He grew up in the Cowies Hill area of Durban, attending Westville High School where he played in school-based groups doing covers of songs by Jimi Hendrix and The Who.[2] He was influenced by Indian music and cuisine and by the work of Frank Zappa and Captain Beefheart.[3] He learned to play tabla at the Hindu Surat school in Durban.[4] In 1976 he was conscripted into the South African Defence Force, where he declared himself a Hindu pacifist, and was assigned to medical duties and then to band work.[2] During his military service, Sony played B♭ horn, euphonium and drums.[5] He changed his surname from Swinney to Sony to make it harder for the army to get in touch with him for camps; he chose Sony because he liked their products.[6] While Sony was in the army in 1977, his father brought him punk rock albums from an overseas trip. This was his first exposure to the Sex Pistols and the Clash.[5]
Kalahari Surfers
Sony performing with the Kalahari Surfers in Amsterdam, 1986. Chris Cutler is in the background.
The Kalahari Surfers are a "fictional group" which have served as a long-standing stage name for Warrick Sony's music.[7] He is the only permanent member of the band, and brings in other musicians as and when needed. He adopted the name partly to protect himself from the authorities.[5] The Surfers' music was the first radical white anti-apartheid pop in South Africa,[8] and began with a 1982 home-recorded cassette titled "Gross National Products". Sony distributed it himself;[9] the South African Sunday Times described it as a "daring home-mixed collection of subliminal jive rhythms, sad-sweet jazz sounds, tabla burps, church bells, bird shrieks, political speeches and... other... found sounds",[10] and chose it as one of their three "Terrific Tapes of 1983".[11] The second release was a double single package, "Burning Tractors Keep Us Warm", released by Pure Freude Records. German group Can were involved with this label.[12]
Warrick Sony worked as a freelance sound engineer in the South African film industry, and used this to acquire many of the sound samples he later used in his music.[13]Shifty Records tried to release the 1984 album Own Affairs, but could not find a vinyl plant which would press it.[14]Chris Cutler's London-based Recommended Records pressed the album, the start of a long-standing alliance. Own Affairs was hailed as breathtaking, innovative and humorous by the Weekly Mail.[15] The Sunday Times called it "a music born from the spilled seed of our national sickness and nurtured to nightmarehood in the moral drought of daily life/politics".[16] Cutler helped set up tours, and in 1985 a second album, Living in the Heart of the Beast, was released.[17]Jon Savage wrote in the New Statesman that it was a "success", praised its "viciously critical (and historically intelligent) lyrics", and compared it with early Zappa.[18] The NME called it "brave".[19] The third album, Sleep Armed (1987), has been called "the best snapshot we have of South Africa at the time, right down to the jacket photo of rich surfers on Umhlanga Roxx, a posh White beach in Durban".[3]
In 1986, with a live band comprising Mick Hobbs on bass, Alig (from Family Fodder) on keyboards, Tim Hodgkinson (keyboards, sax and slide guitar), and Chris Cutler on drums,[2] Sony performed in the Netherlands, Germany, Switzerland, France, Luxembourg, the Festival des Politischen Liedes in East Berlin, and London. In 1989 they were the first South African band invited to play in the Soviet Union, where they played Moscow, Leningrad, and Riga.[20]
In 1989 the South African authorities banned the fourth album Bigger Than Jesus,[21] due to concerns about the song "Gutted with the Glory"' and the use of the Lord's Prayer. This album was deemed "abhorrent and hurtful". A shopper, Mevrou Mulder of Cape Town, was so offended by seeing the record on sale that she organised a petition to the Directorate of Publications. She complained: "The name alone is enough to make any Christian furious, not to mention the words. We as reborn Christians object to the publication of this record and also the distribution of it."[22] Sony successfully appealed, and the record was unbanned on condition that the name was changed to Beachbomb.[23][24]Personality magazine said the album "alternates between sheer poetic brilliance and intellectual nonsense."[25] The first three albums remained banned in South Africa.[26]
Sony worked as a sound recordist (for many foreign networks including ABC, CBS, BBC ) covering the defiance campaign and consequently the release from prison of Nelson Mandela in February 1990. He has used some of the recordings he made as a journalist in his musical work.[7] He worked with Donald Woods on a documentary at this time.[13] Sony worked with Lloyd Ross at Shifty Records from 1992, mostly concentrating on developing and promoting foreign African music in South Africa. He bought the studios first 16-track recording[27] machine and became a partner in the company when Ivan Kadey emigrated.[28]
In 1997 Sony left Johannesburg, where he had lived since 1983, after being shot in a hijacking.[29] In 1998 he said he had been against the cultural boycott of South Africa in the apartheid era, as it had prevented important ideas from coming to the country.[30]
Since the turn of the millennium Sony has released more Kalahari Surfers albums. Akasic Record[31] (2001) is "a highly sophisticated foray into African-flavoured dubfunk";[32]Muti Media (2003) features a sculpture by Brett Murray on the cover, and Zukile Malahlana from Marekta appears on the album.[33]Conspiracy of Silence (2005) and Panga Management (2007) followed. One Party State (2010) was released on Microdot and debuted at the African Soul Rebels Tour in the UK alongside Oumou Sangaré & Orchestre Poly-Rythmo De Cotonou.[34] It features Sowetan poet Lesego Rampolokeng on four tracks.[35] The Mail & Guardian called it "a politically drenched album... track for track the most solid South African release of 2010".[36] The Kalahari Surfers performed at the Cape Town Electronic Music Festival in early 2012,[37] and released a live album of the performance.[38]Agitprop was released later in 2012, on Sjambok Music; it was first played at the Unyazi Festival in Durban in September.[39]Agitprop explores Sony's fears about South Africa in the 2010s becoming a one party state under the African National Congress, and includes a song about chemical warfare scientist Wouter Basson.[40] South African Rolling Stone compared it to the KLF, Sly and Robbie and Pink Floyd, and described its "slow evolution of nuance" towards the "desolately upbeat" "Hostile Takeover".[41] Sony says the album was mostly written on the train while commuting to work; he calls the genre "Voktronic, ... a blend of folktronic, and volkspiele with a dose of electronic experimental dubstoep and experimental rolled up into one fat two blade stereo hit."[4] Warrick toured a Kalahari Surfers line-up playing eleven cities in the UK in 2010 with the African Soul Rebels tour alongside Oumou Sangaré and Orchestre Poly Rythmo de Cotonou.
Trans-Sky, remix and production work
At Milestone Studios
Under the name Trans-Sky, Sony produced Killing Time (CD) and Heaven To Touch (EP) with Brendan Jury, and toured South Africa opening for Massive Attack in 1998.[42] He made the album End Beginnings with Lesego Rampolokeng in 1993,[43] which led to a series of concerts in Brazil.[44] In 1998 he worked on Turntabla, an electro-dub project with ex-Orb members Greg Hunter and Kris Weston,[45] and did the sound engineering for a workshop with Brian Eno in Cape Town.[46]
Sony's remix projects include work for M.E.L.T. 2000 on the Busi Mhlongo remix album.[47] He was invited to present a performance for Unyazi: International Electronic Music Symposium at Wits University, Johannesburg in 2005,[48] and co-produced and arranged the album The Triptic (2007) for Polish metal band Sweet Noise.[49]
He designed Kalahari Surfers drum modules for PureMagnetik for Ableton Live music software.[50] He uses a Roland GR09 guitar to trigger his synthesiser, keyboards and samples, and uses Ableton Live and Launchpad with Korg controllers to make his music.[51]
Film, art, theatre and academia
As a sound designer Sony worked on the feature film The Mangler, directed by Tobe Hooper.[52] He co-composed (with Murray Anderson) the score for Canadian Broadcasting documentary Madiba: The Life and Times of Nelson Mandela (1996), for which he was awarded the Gemini Award for best music.[53] He composed music for Gerrie & Louise (1997), sound design for Izulu lami (2008) and sound for Zimbabwe (directed by Darryl Roodt, 2008)[54][55] In 2010 he wrote music for Jozi, a comedy directed by Craig Fremont produced by Thom Pictures and Anant Singh.[56]
He worked with Rodney Place on the Couch Dancing exhibition.[57] He did music for Ochre and Water: Himba chronicles from the land of Kaoko for Doxa Productions.[58] He worked with Murray Anderson to make music for the Museum of Rock Art[59] and in March 2007, with Pops Mohamed and Dizu Plaatjie's band Ubuyambo performed at Turbulence, the South African art exhibition in Red Bull's Hangar 7 event in Salzburg.[60]
Television credits include Apartheid's Last Stand (1999) and Parklife: Africa (2001).[55]
He worked on commercials, film scores and music for theatre.[65] He was based at Milestone Studios, Cape Town, and his advertising work included commissions from Nissan, Daewoo, Land Rover, and BMW.[44]
Sony exhibited two video works at the 56th Venice Biennale at the South African Pavilion.[66] He left Milestone to concentrate on his master's degree which he completed with distinction, at Michaelis School of Fine Art at the University of Cape Town in 2019.[67] His final examination work was shown at a solo show at the Michaelis Gallery in November 2018.[68]
In 2020 he received a Mellon Foundation Turning the Tide scholarship and enrolled to do his PhD through UWC (the University of the Western Cape).[citation needed]
In September 2022 he attended the Bauhaus University/Goethe Institute offered 3-month Radio Art Residency residency in Weimar, Germany, producing a body of work which was exhibited at the Eigenheim Gallery under the title, Mutant Farmyard Activities (3-15 December).[69] He also completed a 55-minute radio art piece titled "Vuvuzela's and Sun Damage" for Deutschlandfunk Kultur, another of the Radio Art Residency sponsors.[70]
In August 2024 he was awarded a Phd at the University of the Western Cape. It is titled "Signal To Noise - sonic reflections on the South African transition period (1984-1998)".[citation needed]
Discography
Kalahari Surfers
Gross National Products cassette (1982)
Burning Tractors Keep Us Warm double-single (1983, Pure Freude-Germany)
1.) House on Fire: Sankomota and the art of abstraction”. a video lecture for Africa Synthesised . 26 /06 /2020 in Herri: Vol 4
2.)Stick-fighting against extinction: end beginnings and other dada nihilismus polemics. (18/12/2020) for Phellelo Mofekeng’s BKO Magazine: download PDF
3.) “ Palisade of Culture” New Contrast (191 vol 48 Spring) 2020 essay about playing concerts in the USSR in the late 1990’s dealing with socio political issues, crumbling east bloc and differences and similarities with totalitarian apartheid political structures and music censorship.
5.)“ The hauntologies of Sankomota: houses on fire, murmurs, witches and riddles.” Special Issue of Kronos: out September 2023
6.) “Between Substance and Shadow: investigations into the cynanthropy of Gary the Dog” for This Mortal Body - As part of “Rethinking South African Literature(s)" out in late 2023
7.) "Practices of Listening: Repercussions of Sound,Silences and Censorship from (Post)Apartheid South_Africa" (MFA Thesis, original title: Hit The Mute Button)
8.) Artthrob. Issue No. 84, August 2004. Sonic Mysticism: The Limitations of Technique.
10.)Zandi Tisani’s Rave & Resistance - The birth of club culture in 90s Johannesburg.
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Own Affairs was, in 1984, the first full-length album by the Kalahari Surfers, the recording identity of South African musician Warrick Sony.
Sleep Armed was, in 1988, the third full-length album by the Kalahari Surfers, the recording identity of South African musician Warrick Sony. It has been called "the best snapshot we have of South Africa at the time, right down to the jacket photo of rich surfers on Umhlanga Roxx, a posh White beach in Durban".
Bigger than Jesus was, in 1989, the fourth full-length album by the Kalahari Surfers, the recording identity of South African musician Warrick Sony.
Akasic Record is a 2001 album by the Kalahari Surfers, the recording identity of South African musician Warrick Sony. Akashic records are part of a mystical state said to immediately follow accidental death. The album is "a highly sophisticated foray into African-flavoured dubfunk".
Muti Media is a 2003 album by the Kalahari Surfers, the recording identity of South African musician Warrick Sony. It features a sculpture by Brett Murray on the cover, and Zukile Malahlana from Marekta appears on the album.
One Party State is a 2010 album by the Kalahari Surfers, the recording identity of South African musician Warrick Sony. It was released on Microdot and debuted at the African Soul Rebels Tour in the UK alongside Oumou Sangaré & Orchestre Poly-Rythmo De Cotonou. It features Sowetan poet Lesego Rampolokeng on four tracks. The Mail & Guardian called it "a politically drenched album... track for track the most solid South African release of 2010".
Agitprop is a 2012 album by the Kalahari Surfers, the recording identity of South African musician Warrick Sony. Agitprop was released on Sjambok Music; it was first played at the Unyazi Festival in Durban in September. Agitprop explores Sony's fears about South Africa in the 2010s becoming a one party state under the African National Congress, and includes a song about chemical warfare scientist Wouter Basson. South African Rolling Stone compared it to the KLF, Sly and Robbie and Pink Floyd, and described its "slow evolution of nuance" towards the "desolately upbeat" "Hostile Takeover". Sony says the album was mostly written on the train while commuting to work; he calls the genre "Voktronic, ... a blend of folktronic, and volkspiele with a dose of electronic experimental dubstoep and experimental rolled up into one fat two blade stereo hit."
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References
↑ Clarke, Donald (1990). The Penguin encyclopedia of popular music. Penguin Books. p.638. ISBN0140511474. Kalahari Surfers: A studio group playing music of Warrick Swinney (b 12 Sep. '58, Port Elizabeth, South Africa), who began at U. of Capetown, continued in Durban;
1 2 Jones, Andrew (1995). Plunderphonics, 'Pataphysics & Pop Mechanics: An Introduction to Musique Actuelle. SAF Publishing Ltd. p.233. ISBN0946719152.
↑ "Surf's Up". Melody Maker (5 September 1987). The Kalahari Surfers are the first radical white African pop.
↑ Marie Korpe, ed. (2004). Shoot the Singer!: Music Censorship Today. Zed Books. pp.89–91. ISBN1842775057. Warrick Sony (1991), who worked with Shifty, bypassed the major pressing plants by releasing his first album on cassettes, produced at home and distributed personally.
↑ Silber, Gus (7 August 1983). The Sunday Times.{{cite journal}}: Missing or empty |title= (help)
↑ Molon, Dominic; Diedrichsen, Diedrich (2007). Sympathy for the Devil: Art and Rock and Roll Since 1967. Yale University Press. p.137. ISBN978-0300134261.
1 2 Jones, Andrew (1995). Plunderphonics, 'Pataphysics & Pop Mechanics: An Introduction to Musique Actuelle. SAF Publishing Ltd. p.234. ISBN0946719152.
↑ Jones, Andrew (1995). Plunderphonics, 'Pataphysics & Pop Mechanics: An Introduction to Musique Actuelle. SAF Publishing Ltd. p.235. ISBN0946719152.
↑ Wrench, Nigel (21 June 1985). "Doing the Gunston gig on a sand dune". Weekly Mail.
↑ Savage, Jon. "Living in the Heart of the Beast". New Statesman (6 August 1986). ...it works because it is a formal success: cut-up Botha speeches and Afrikaans-speak are set against hi-life and reggae rhythms, while viciously critical (and historically intelligent) lyrics are sung dispassionately over settings that recall early Zappa.
↑ Fadele, Dele (3 October 1986). New Musical Express. Kalahari Surfers bravely ignore the many paradoxes... throw in the gauntlet and preach succession{{cite journal}}: Missing or empty |title= (help)
↑ Vinassa, Andrea. "SA rocker visits Russia". Star (19 May 1989).
↑ Horn, David; Laing, Dave; Oliver, Paul; Wicke, Peter. John Shepherd (ed.). Continuum Encyclopedia of Popular Music of the World Part 1 Media, Industry, Society. Continuum International Publishing Group. p.669. ISBN0826463215. Warrick Sony joined up with Lloyd Ross and formed an association that has continued to exist... Warrick Sony brought with him one of the first Fostex B16 tape recorders and the studio became 16 track.
↑ Hopkins, Pat; Kombuis, Koos; Ross, Lloyd (2006). Voëlvry: The Movement that Rocked South Africa. Zebra. p.87. ISBN1770071202.
↑ Drewett, Michael (2006). Michael Drewett, Martin Cloonan (ed.). Popular Music Censorship in Africa. Ashgate Publishing, Ltd. p.33. ISBN0754681653. I didn't really support the whole idea of a cultural boycott... I supported the sports boycott because I think that hurt, but ... I think of how much I've learnt from listening to records. For people like Billy Bragg not to have had their records available in South Africa is ridiculous. It is. He's not a huge seller but his ideas needed to come here.
↑ Akashic records are part of a mystical state said to immediately follow accidental death.
↑ Forrest, Drew. "Mzansi's groove". Mail & Guardian. Retrieved 11 February 2013.
↑ Jones, Andrew (1995). Plunderphonics, 'Pataphysics & Pop Mechanics: An Introduction to Musique Actuelle. SAF Publishing Ltd. pp.237–238. ISBN0946719152.
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