{"id":118448,"date":"2023-01-30T12:50:33","date_gmt":"2023-01-30T10:50:33","guid":{"rendered":"https:\/\/pan-african-music.com\/?p=118448"},"modified":"2023-01-30T13:00:09","modified_gmt":"2023-01-30T11:00:09","slug":"frigid-armadillo-future-afro-house","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/frigid-armadillo-future-afro-house\/","title":{"rendered":"Frigid Armadillo and the future of Afro-house"},"content":{"rendered":"\n<p>The innovative and inspired Afro-house pair known as Frigid Armadillo met while studying in Johannesburg in 2010. Coming together as the only two amongst their peers who showed interest in music production while bonding over a John Dahlb\u00e4ck track, Lebo Lechela and Siyabulela Buhlungu found kinship in their longing to meticulously create a work of sonic art. Commandeering common pop arrangements and overlaying them with painstakingly experimental Afro-house grooves they\u2019ve coined \u201cFrigidization,\u201d the two were equally awe-struck and invigorated by how far their sound would travel.<\/p>\n\n\n\n<p>Their debut EP, <em>Adam\u2019s Calendar<\/em>, housed the breakout track, \u201cRoam in a Day,\u201d which received keen nods from LP Giobbi, Sam Divine and Black Coffee via his BBC Radio 1 Essential Mix, and went on to be included on the illustrious Defected Festival\u2019s official 2021 Afro House Mix. By the time their next offering in the <em>Goliath\u2019s Footprint EP<\/em> was just a few weeks old, the project had landed the no.1 spot on the Itunes Dance chart in South Africa. Their most recent <em>Humanity<\/em> EP wasn\u2019t far behind, landing the Apple Music no.1 spots in Botswana and Canada and no.2 in the U.S.\u00a0<\/p>\n\n\n\n<p>Starting 2023 off with their latest double release in <em>Penga<\/em>, we spoke with Lebo and Siya in the wake of the release about Afro-House\u2019s gentrification, \u201ckeeping things interesting\u201d and a new year of emotion-led music crafted entirely on their terms.&nbsp;<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>A stand out moment for you thus far has undoubtedly been \u201cRoam in a Day\u201d which was a game changer for anyone curious about the direction house sounds would go. What has the last 3 years been like for you since its release?<\/strong><\/p>\n\n\n\n<p><strong>Lebo: <\/strong>It\u2019s been a wild ride. For every one step forward it feels like it\u2019s 2 steps back, and for every step back you\u2019re propelled forward even more. No two days are the same and it&#8217;s a lot of \u201churry-up-and-wait.\u201d It feels like everybody\u2019s waiting for your next move and sometimes doors open, but not all the way. We just want to make sure we\u2019re not an overnight fad and the trickiest part becomes not letting success get to your head. I\u2019m eternally grateful for the \u201cRoam in a Day\u201d moment; I don\u2019t think we\u2019d be where we are now if it wasn\u2019t for how this song organically grew. Siya says he saw it coming, but I call BS on that\u2026<\/p>\n\n\n\n<p><strong>Siya<\/strong>: The reason I say that I felt it coming is based on how the song was made. In the song, you can&#8217;t really hear it but there\u2019s a loop from a Black Coffee remix that I chopped up and put in the song <a href=\"https:\/\/open.spotify.com\/track\/45gbor15xy5IXj2P5oXQNf?si=152d253ef52f4249\">(find it here: \u201cIn Common\u201d &#8211; Alicia Keys, Black Coffee Remix)<\/a>. The funniest part is that he was the first big DJ to play it on a stream and from there we blew up exponentially. From that day that I put the loop in, I had a feeling that the song would be something special.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Since then you\u2019ve focused on breadcrumbing EPs. What would you say you try to explore EP to EP, one release to the next?<\/strong><\/p>\n\n\n\n<p><strong>Siya: <\/strong>To be honest Shiba, we don\u2019t have a formula. A lot of our music is mood-dependent; it really depends on what mood we go in with that day. <em>Goliath\u2019s Footprint<\/em> was more of a continuation of that angelic, anthemic sound that the first EP gave you, but most of the music we\u2019ve made that hasn\u2019t come out yet is a feeling thing, an emotional thing. There\u2019s no plan, we just do what we feel like doing on the day.&nbsp;<\/p>\n\n\n\n<p><strong>Lebo:<\/strong> I don\u2019t know if this is a great thing to say, but it\u2019s also a competition thing. We also hear really great music and the challenge becomes, can we make something better, something that makes us proud of what we can do. Like Caiiro\u2019s last album,\u00a0 <em>Pyramids<\/em> \u2013 it&#8217;s otherworldly. If we ever create an album, we\u2019d want to be as proud as Caiiro probably was around his work. A lot of it is feeling a bit imposter syndrome \u2013 we&#8217;ve always been underdogs and EP to EP we\u2019ve just had to find our groove and learn that people actually really enjoy our music. If you\u2019re proud of the song, you hope the world will be too. You either get no feedback or you get \u201c<em>we like it, but can you make it more Black Coffee?<\/em>\u201d Now we\u2019re in a place where people want more \u201cRoam in a Day\u201d but like Siya had said before \u2013 \u201cRoam in a Day\u201d is a moment, it\u2019s not a sound. If we\u2019re having a \u201cRoam in a Day\u201d day, you can get a \u201cRoam in a Day\u201d track.\u00a0 We\u2019re not machines. We don\u2019t just churn out sounds that are all alike. It\u2019s about pushing the envelope, not taking things personally and having fun.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Penga\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/ItUkwnoe2LU\/?list=OLAK5uy_krWAqcOrtffyLOz-4qPPdXJUlie3eRQrI&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>So when you look out onto the Afro-house landscape, what do you see or hear, and how does <\/strong><strong><em>Penga<\/em><\/strong><strong> fit into the greater story of your sound and where this genre is positioned in South Africa\u2019s sonic story?&nbsp;<\/strong><\/p>\n\n\n\n<p><strong>Siya:<\/strong> The first thing to note is that right now South Africa is taking over the house scene, no matter what the sub-genre. Afro-house, amapiano, gqom, it\u2019s all up there. I think right now we should keep focused and do what we do, because we\u2019ve got the world\u2019s attention now. The talent is here and we appreciate house music \u2013 dare I say \u2013 more than any other country. Maybe it goes back to feeling. I can\u2019t say what it is but we have it! Some folks who have it for me are Chronical Deep and Mpho.Wav.<\/p>\n\n\n\n<p><strong>Lebo:<\/strong> For me, house does for me what hip hop did for me in 2010. It was a feeling thing and there are levels to it. You get sounds upfront that are for everyone and then you get sounds deep into the back of a song that are for the discerning listener that you have to dig deep for and you just want to step into the song and give it a hug. That\u2019s what I\u2019m in this for, it\u2019s amazing and I like to meet folks on any level. To your question about who is doing it for me is G-Washington. His productions are perfect but I don\u2019t think he\u2019s gotten his flowers yet.<\/p>\n\n\n\n<p>Having said that, there\u2019s a trend I\u2019ve noticed. There seems to be a paradigm shift toward a more simplified Afro-House, which is weird. Siya and I took a long time for us to get our heads around it because the drums were always difficult to pick up on. We come from very different worlds to the one we find ourselves in right now, and there was a lot of learning we had to do. The drums just make the song feel really full when a song hasn\u2019t really started, and I think <em>Adam\u2019s Calendar<\/em> was the first time we got it right \u2013 but now there seems to be a shift toward more simple percussion. There\u2019s not so much happening in the rhythm section and melody section anymore, like it&#8217;s trying not to scare you off. And I think these \u201csafer\u201d types of Afro-house tracks are ones I don\u2019t really enjoy. I bring up Chronical Deep because he\u2019s done things with Afro-house that no one would ever dare to do, and each time it\u2019s worked. I\u2019d love for folks to go back to the more intricate, deeper melodies that speak to you and push the envelope.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Why do you think that is? Especially considering the fact that rhythm is something Afro genres have come to be most appreciated for, or at the very least, founded on<\/strong>?<\/p>\n\n\n\n<p><strong>Lebo: <\/strong>The short answer is that it&#8217;s the gentrification of Afro house. In order for mass adoption to occur, I think we (the producers\/DJs) find ourselves in a place where we need to appeal to the target audience and what they&#8217;re most familiar with. I think you have also probably noticed that there is a more electronic approach to Afro-house with regards to the sounds that are utilised. Ethnically speaking, we do not have a heavy reliance on electronic synthesisers in our music, and initially this is something we had appropriated and merged with our sound (Afro-tech), but has now become the dominant feature of neo-Afro house. Now that we find ourselves being invited to tables where we were once underrepresented, there is a propensity to keep up with the Joneses by churning out a sound that they will find easily digestible.\u00a0<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1010\" height=\"673\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Frigid-Armadillo-2-1010x673.jpg\" alt=\"\" class=\"wp-image-118453\" srcset=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Frigid-Armadillo-2-1010x673.jpg 1010w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Frigid-Armadillo-2-759x506.jpg 759w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Frigid-Armadillo-2-2048x1365.jpg 2048w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Frigid-Armadillo-2-1440x960.jpg 1440w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Frigid-Armadillo-2-661x441.jpg 661w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Frigid-Armadillo-2-465x310.jpg 465w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Frigid-Armadillo-2-375x250.jpg 375w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Frigid-Armadillo-2.jpg 4309w\" sizes=\"(min-width:1010px) 759px,100vw\" loading=\"lazy\" \/><\/figure>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>It\u2019s interesting to note that you feel this way about a genre (i.e. house) which has had its history very much whitewashed, and one of the songs on <\/strong><strong><em>Penga<\/em><\/strong><strong> is about slavery. Can you speak a bit about the themes that seem to be recurring in your music?<\/strong><\/p>\n\n\n\n<p><strong>Siya: <\/strong>So James Baldwin is the voice on \u201cLadies and Gentlemen\u201d that talks about slavery in the breakdown. Then there\u2019s an American jazz musician called Gary Bartz who speaks about blues.&nbsp;<\/p>\n\n\n\n<p><strong>Lebo: <\/strong>What we tend to do is to make the song, and have the vocals sort of fit around the song. We always want the vocals to fit the mood but to also say something. Even though we don\u2019t experience the kind of slavery he talks about directly, the understanding of the era of slavery and what it means to be a prisoner of something is there. We tie that back to the music in that when the song breaks down we will add a bit about slavery, we use it to keep the tension going even while the music is breaking down. This music is freeing. At the end of the day that escapism is what the music is supposed to do to us.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>\u2026And at the same time, we see Afro House artists like Morda bringing on amapiano artists like <a href=\"https:\/\/pan-african-music.com\/en\/focalistic-president-amapiano-paris\/\">Focalistic<\/a> and Murumba Pitch, with <a href=\"https:\/\/pan-african-music.com\/en\/pam-club-mobi-dixon\/\">Mobi Dixon<\/a> bringing on Babalwa M etc. You even brought on Hulumeni for your own productions. Do you consider this a necessary thing given how popular amapiano has become to the rest of the world, or an inevitable thing as a house appreciating nation?\u00a0<\/strong><\/p>\n\n\n\n<p><strong>Siya: <\/strong>It\u2019s like Lebo was saying, we need to keep pushing the envelope. I don\u2019t think there\u2019s a point in bringing in an amapiano artist to the most simple Afro House song. You might as well have just chosen an Afro House artist then. If we\u2019re going to be doing this cross-pollination of genres, then we must try our best to develop something new and interesting that is truly South African that no one can replicate. Really use each other\u2019s skills and keep things interesting!<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>What can we look forward to now that <\/strong><strong><em>Penga<\/em><\/strong><strong> is out? Will we see more of you live, and how does that compare to being in the studio?<\/strong><\/p>\n\n\n\n<p><strong>Siya: <\/strong>The live sets are something else.I don\u2019t think it matters where we play but every time we play in Kenya for example, it feels like you have the crowd in the palm of your hand and they dictate what we do. At times it feels like we were meant to be doing what we\u2019re doing. We have no musical background in our families at all, so things have to just come to us naturally. I taught Lebo how to DJ within a week and he took it up really quickly. It\u2019s hard to describe taking that passion to the crowd.<\/p>\n\n\n\n<p><strong>Lebo:<\/strong> Being on stage is an out of body experience. That\u2019s how it feels every single time. Like Siya was saying, it feels like it was meant to be. And this is why we do it; this is why we&#8217;ve been back and forth on a song for 5 years; this is why we\u2019re never satisfied with the mix; this is why it all needs to happen \u2013 for this moment right here, this 60 minutes live means everything. When we\u2019re out there, everything makes sense. We\u2019re free.\u00a0<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><a href=\"https:\/\/open.spotify.com\/album\/3gj8eNpg68ICTfNOshtiaP?si=ZTEUnP_FRjiNuP4YBU4Krg\">Penga<\/a> is out now via Bridges For Music<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1010\" height=\"1010\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-1010x1010.jpg\" alt=\"album cover\" class=\"wp-image-118450\" srcset=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-1010x1010.jpg 1010w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-759x759.jpg 759w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-100x100.jpg 100w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-2048x2048.jpg 2048w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-1440x1440.jpg 1440w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-661x661.jpg 661w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-465x465.jpg 465w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-375x375.jpg 375w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-200x200.jpg 200w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-85x85.jpg 85w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo-73x73.jpg 73w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2023\/01\/Penga-Frigid-Armadillo.jpg 4000w\" sizes=\"(min-width:1010px) 759px,100vw\" loading=\"lazy\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Shiba Melissa Mazaza spoke with Frigid Armadillo about finding success and feeling the sound in the ever-changing landscape of Afro-house from it&#8217;s drum heavy origins to modern gentrification for the release of their new EP, Penga.<\/p>\n","protected":false},"author":103,"featured_media":118449,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7833,7835],"tags":[4111,4096],"location":[7844],"yst_prominent_words":[8403,8996,12647,8414,8447,8933,8618,8402,8435,9006,9202,18625,8945,8438,9194,8545],"acf":[],"_links":{"self":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/118448"}],"collection":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/users\/103"}],"replies":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/comments?post=118448"}],"version-history":[{"count":0,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/118448\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media\/118449"}],"wp:attachment":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media?parent=118448"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/categories?post=118448"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/tags?post=118448"},{"taxonomy":"location","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/location?post=118448"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/yst_prominent_words?post=118448"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}