And “reach out” are my two least favorite words. That’s why we, like, divorced Interscope. Was there any pressure on you to tone it down and be a little more accessible to Americans? Yeah, yeah, definitely. But you guys are still doing your own thing, keeping the African presence there and basically sticking to your guns stylistically. The Ten$ion album, I knew I had a gun in my hand.Ī lot of groups will come up with something unique on their first album and then the second album will be their attempt to cross over a little more. It was like, Oh shit, I have a gun and I didn’t know that I had a gun.
We kind of noticed why everyone likes us. And Harmony Korine and Neill Blomkamp and these people we’ve just been obsessed with. And then the second album, people like us-like, what the fuck? Why do they like us? We’re fucking with David Lynch at his fucking house. The difference between the first album and this album is that before we didn’t know what was going on but we were just fucking full-blown into it. We finished $O$ and nothing happened, and then we started working on a new album in 2008 called Ten$ion before any of this shit went down. We called it $O$ ’cause if it didn’t save our asses we’d be totally fucked. It was kind of a psychedelic thing, making all of the songs up on $O$, and really kind of totally desperate and hungry and totally deranged. I don’t really have an emotional connection with it. All the stuff I did before Die Antwoord I don’t really dig so much.
Die antwoord videos removed from youtube how to#
We made so many songs before in different projects and fucked around with all experimental styles, but the thing we got right-and it took me a long time to work out how to do it-is to be super duper personal. Die Antwoord tracks, they’re super personal. What was going through your head and how was it different from recording the first album? This one was totally fucking different. Tell me about the process behind making Ten$ion. I turned around and looked at him like, “What the fuck are you doing?” And he was having a panic attack because he’d forgotten to load up the whole track, just the arpeggio. And then DJ Hi-Tek-just before the beat to “Enter the Ninja” it goes, there’s like this arpeggio thing and the beat drops, and he dropped the arpeggio and I was like, I’m going to count to eight. It looked like a CGI-generated audience, it was too many people to comprehend. He was supposed to drop the beat, and then-and it was in front of 30,000 people, which is like the most amount of people I’ve ever seen. ‘Cause DJ Hi-Tek got totally fucked up, and when he loaded the beat up he loaded it all incorrectly. It was kind of like that, but it doesn’t go away.Ĭoachella was your first show in the States, right? Yeah yeah yeah.
What was that experience like? Have you taken acid before?
You guys went from obscurity to being kind of a big sensation really quickly. After Die Antwoord fell out with Interscope, they released Ten$ion on their own Zef Recordz, which due to a bit of contractual judo on the band’s part was not only founded using Interscope money but is also distributed by Interscope’s parent company, Universal. But after landing a million-dollar contract with Interscope and rereleasing their debut, $O$, with the label’s backing, the trio-vocalists Ninja and Yolandi Vi$$er and beat maker DJ Hi-Tek-revealed themselves to be cunning pranksters with an intensely strange visual aesthetic, refined on the fringes of the South African art world, that works amazingly well with their manic rave-rap. When Die Antwoord’s video for “ Enter the Ninja” went viral in 2010, the South African group rocketed to Internet superstardom largely on the strength of the LOLs generated by their “zef” image-sort of a Bizarro-world mashup of Hype Williams and Gummo.
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