LIBERATION MUSIC SOUTH AFRICA, THIRTY YEARS ON…

Made in Wrong Kong
Erik Windrich

Musician Erik Windrich, this week’s interviewee, played with his brother Lucien to 120,000 people in a South African concert.  Their group eVOID were ‘the most successful and influential of the white South African punk bands to take up African-inspired images and sounds in their sonic rebellion against apartheid‘ (Wikipedia). Today, Erik teaches performing arts in a London comprehensive school.

Leslie: At the height of Apartheid you toured S. Africa with eVOID in beads and painted faces, performing tribal dances and wearing colourful ethno-gypsy clothes.  What were the positive and negative reactions you faced? Why did you stop playing in South Africa and move to Europe?

Erik: We turned professional in 1979 – our first contract was in Bulawayo, Zimbabwe. By the end of 1984 we were as popular as Boy George and Culture Club – Warner/WEA records had shared posters promoting us both. We started out as a covers band with a few originals but in 5 years we had played throughout South Africa and had built a strong following. Our sound and our image developed over this time as we explored what was on our doorstep – Africa rather than Europe. It was the key to our success but we had negative and positive reactions. We loved the vibrancy of traditional African dress – and made our own versions with modern twists. Some thought it was exploitative – but the detractors were mostly white, fearful of the changing times. Anyone who bothered to listen to the lyrics and experience the ‘vibe’ couldn’t doubt our commitment to the wider social cause. We were full of energy, a Erik 3 heady mixture of rock, pop and mbqanga guitar. Many couldn’t believe that we were a ‘local’ band – our delivery was international because we wanted ‘that’ success.

My mind was made up to leave in early 1985 as I was called up for National Service (Army). I was 25… not a school leaver! Originally I was exempt from national service because I was born in Netherlands (I immigrated when I was 2) with our whole family. But the racist government of the day needed to draft as many able-bodied men as they could – even if it meant forcing me to become a South African citizen. I voted with my conscience and was never going to join them in their campaign of racism and murder. Three brothers (and their partners) arrived in London in Feb 1985.

Leslie: You played Afro-rock with your group eVOID. Can you describe this sound and the influences that went into it?

Erik: The sound: Jivey, funky grooves – an interplay of guitar, keyboards and rhythm section meshed with pop-rock – melody, hooks and lyrics were carefully constructed. The sound was built around a 3-piece. Lucien on guitar & vocal, me on bass synthesiser (left hand) and keyboard (right hand) and lead vocal; and a drummer.

Leslie: You say you used to ‘brainstorm your way forward’ with Karl, your drummer, and your brother Lucien. Can you describe the creative process that went into your act?

Erik 1Erik: Lots of lively discussion and planning. We were all determined to be the next big thing – so we plotted our way forward, thinking of performance, visuals (clothing), songs and ways to promote. It was very much a zeitgeist thing – of it’s time and we looked for every opportunity to crest the wave.

Leslie: How did Nic Hauser and you publicise the band?

Erik: We ran a poster campaign ‘The new constitution for dance’ to echo the political dreams of many who had no voice. It was a well known ploy to hide political messages in pop-songs, especially amongst the black artists who had huge followings but no true recognition within the apartheid system.

Leslie: As a group you had one or two terms you coined as your own. Would you like to offer us a short eVOID dictionary with words, meanings and derivations?

Erik: Here are our four main ones:

  • Ethnotronics: electronic/digital versions of indigenous and found sounds – ethnic-electronic;
  • Fadget: person obsessed with fashion and appearance – fad-gadget;
  • Junk Jive: twangy guitar and using everyday objects as percussion;
  • Race of Tan: the inevitable inter-breeding of people of different cultures and background – where colour won’t be an issue;

Leslie: Looking over your long history of involvement in music, which African artists and groups stand out for you? Why them?

Erik: South African music (Mbaqanga; Marabe; Township Jazz; Kwaito) has a very distinctive flavour – Paul Simon’s ‘Graceland’ firmly putting the South African sound on the international stage (stealing our thunder… and many deserving black artists before us!)

Reggae for its universal sound and message

West Africa for being truly global in its reach – Youssou N’Dour, Salif Keita,

ErikLeslie: What would you like to add about your time in England? How has it been different? What do you feel has been your ‘finest hour’ as a musician?

Erik: I’ve written better songs, musically and lyrically since being here in the UK – but they are not as popular or widely known as the early eVOID material. That’s a tough one and it makes the point about ‘timing’ in a career – you have your moment and you have to make the most of it. Our finest was probably the ‘Concert in the Park’ in January 1985 – a fundraising event for starvation in Southern Africa that was held at Ellis Park (the rugby stadium). There were 27 bands – we were at our peak and onstage at 7.30/8pm – the day started at 11am. There were 120,000 people – a racially mixed audience (first time ever at Ellis Park stadium). We really rocked that night – people went crazy, and I recall, during ‘Junk Jive’, announcing.. “Today we are making history – and you are part of it. This isn’t some empty dreams or empty promises – this is ACTION!!”..and then we got 120,000 people to sway their arms in unison! What a buzz!

ABOUT LESLIE TATE’S BOOKS:

  1. front-cover-heavens-rageHeaven’s Rage is a memoir and a collection of lyrical essays. In brief: ‘Heaven’s Rage is an imaginative autobiography. Reporting on feelings people don’t usually own up to, Leslie Tate explores addiction, cross-dressing and the hidden sides of families. Writing lyrically, he brings together stories of bullying, childhood dreams, thwarted creativity and late-life illness, discovering at their core the transformative power of words to rewire the brain and reconnect with life. “A Robin Red breast in a Cage / Puts all Heaven in a Rage” – William Blake. You can read more about/buy Heaven’s Rage here.
  2. front_300Purple is a coming-of-age novel, a portrait of modern love and a family saga. Set in the North of England, it follows the story of shy ingénue Matthew Lavender living through the wildness of the 60s and his grandmother Mary, born into a traditional working-class family. Both are innocents who have to learn more about long-term love and commitment, earning their independence through a series of revealing and closely-observed relationships. Purple is the first part of the Lavender Blues trilogy. You can read more about/buy Purple here.
  3. front180Blue tells the story of Richard and Vanessa Lavender, who join a 90s feminist collective sharing childcare, political activism and open relationships. Boosted by their ‘wider network’ they take secondary partners, throw parties and observe the dance of relationships amongst their friends. But finding a balance between power and restraint, and handling shared love, proves difficult… Blue is the second part of the Lavender Blues trilogy. You can read more about/buy Blue here.

Leave a Reply

Your email address will not be published. Required fields are marked *