2016-11-06 05:11:36 UTC
Kabaal klankbaan is Gauteng-based musician Floris Groenewald’s folk-rock music project. “It’s not a stage name,” says Floris, “but a band, of which I’m the only permanent member.” They play acoustic, alternative folk-rock, which varies from indie-pop songs, folky dystopian love songs, bluesy rock & roll, to songs about robots and video games.
Most live performances consist of one guy with an acoustic guitar, harmonica, and stompbox, rocking and rolling and folking in an attempt to ignore genre limitations. His next show might be Afrikaans, English, bilingual, folky, rocky, accompanied or solo. In 2015 Kabaal klankbaan performed several times as a duo, joined by saxophinist Andre van Coller, and for a special Halloween show in October 2016, they pulled out all the stops as a four-piece band.
Kabaal klankbaan has released a debut album, Dit wat oorgebly het, in October 2012, closely followed by a standalone, free download single, This town is for lovers, in November 2012. They launched a new single, Player Two (featuring Gad de Combes from Adventure Man and Shortstraw), in October 2013, and a second full-length album, Baptism, in June 2015.
Robot Girlfriend is a fun, humourous, electro/indie-pop song with a fair share of sincerity and heart.
Floris Groenewald, songwriter, frontman, and vocalist, describes the song with his tongue in his cheek: “Robot Girlfriend is simply about how flippin’ sweet it would be to have a girlfriend who’s a robot.”
“But it’s also about when your love life is so completely disappointing that you just retreat into a fantasy world and reject all sense of reality – or so my doctors say.”
acoustic, folk, pop, indie, electro
These Are Truly The Last Days is a musical project with a driven experimental twist. Their music blurs the lines between various genres, including ambient, electronica, glitch hop, and more. The project’s self-titled studio effort features 11 studio tracks.
Crafting a concept album is an incredibly difficult task. Tying together a cohesive narrative across a record’s worth of songs isn’t just daunting, it’s an endeavour that even some of the industry’s finest have failed to do memorably. This task, however, becomes notably more difficult when you’re dealing in the abstract via instrumental soundscapes. That is what Chronotope Project, the moniker of composer Jeffrey Ericson Allen, attempts to do with his latest project, ‘Ovum.’