Archive for the ‘Terminatryx’ Category

10th Log
TERMINATRYX LIVE VIDEO CLIP OF “SIEK+SAT” REMIX, WITH ITS REMIXER PAUL RIEKERT (of BATTERY 9) ON GUEST VOCALS (shot at Terminatryx support slot for MINISTRY’s first South African tour)

On 4 March 2015 TERMINATRYX supported iconic Industrial legend Al Jourgensen’s MINISTRY on their first ever South African tour (hosted by Witchdoctor Productions, at Carfax, Johannesburg).

In 2015 it had been 6 years since Cape Town-based TERMINATRYX toured up north, so the band took the opportunity to get South African alternative legend Paul Riekert (of Battery 9) on stage with them. The TERMINATRYX debut album got a full remixed version in the shape of “Remyx v1.0” (2011), and Paul chose the band’s first Afrikaans song “Siek+Sat” (translated: “Sick+Tired”). So a live version of this track was the perfect choice with which to include him on this auspicious evening for guest backing vocals.

Battery 9 are South African Industrial pioneers and hadn’t played live for years (since band member Huyser Burger’s sad, untimely death) – So it wasn’t just a thrill to have Paul on stage with TERMINATRYX, but also get him back in front of people who hadn’t seen him there in a while.

This live clip of the “Siek+Sat” remix was edited from a fan shot video and includes a cool range of photographs.

Thanks to everyone coming out to support, many flying in from all over South Africa for this one night only event.
(The SlashDogs were also on the bill)

A quote from Battery 9’s Paul Riekert on the experience of that night (4 March 2015):
“To do a guest spot, playing a remix I did, with a great band supporting Ministry, seemed like a really far-fetched idea 25 years ago… What a rush that was! Mind still blown. My eternal gratitude to Terminatryx.”

Produced & Edited by: Paul Blom (for Flamedrop Productions)
Shot by: Sophia Engelbrecht
Photography by:
Christelle Duvenage Photography
Henry Engelbrecht
Chris Acheson Photography
AGS Photo
Leigh Taylor Photography
Adaze
Royal Lens Photography
Muhammed Valiallah
Shaughan Pieterse

TERMINATRYX is:
Sonja Ruppersberg – lead vocals
Paul Blom – bass, programming, guitars, backing vocals
Patrick Davidson – guitars
Ronnie Belcher – drums, programming

Official site: http://www.terminatryx.com
iTunes: https://itunes.apple.com/us/artist/te…
Music: http://www.terminatryx.bandcamp.com
Facebook: http://www.facebook.com/Terminatryx
Video: http://www.youtube.com/Terminatryx
Twitter: http://www.twitter.com/Terminatryx

5th Log
Ronnie’s Recipes: Peanut Butter Choc Chip Cookies

465476_413062612067176_432538301_o

Recipe #1 : Peanut Butter Choc Chip Cookies

Ingredients:

1 x Cup Sugarron_cookies

1 x Cup Butter

1 x Cup Flour

2 x Cups Oatmeal

1/2 Cup Peanut Butter

1/2 Cup Choc Chips

1 x Banana (Optional)

1 x Teaspoon Vanilla Extract (Optional)

Makes about 15 – 20 cookies.

Method:

Preheat oven to 180 degrees celsius.

Lightly grease baking tray.

Add all ingredients in a bowl and thoroughly mix with your hands until it forms a nice uniform dough.

Take a spoonful of dough and roll it into a small ball with your hands, slightly smaller than a golfball.

Place the dough balls onto the baking tray and press it flat with a fork, or your hands.

Make sure there is enough space between each cookie as they do expand in the oven.

Bake for 15 minutes.

Remove from oven and let it cool down for about 20 minutes before eating.

Enjoy!

STAGES

Posted: July 23, 2015 in Sonja's Entries, Terminatryx
Tags: , , ,

Sonja looks at the various stages she’s tread in her life

4th Log
STAGES – Sonja Ruppersberg

11025876_807722489264846_2314354875643945674_o

After watching Birdman, an interesting (Oscar winning) flick that literally provides one with a point of view of the stage and backstage in a Broad Way theatre setting, it made me think of all the stages I have been on since my childhood child. They each have their own little allure.   They are magical spaces – almost sacred.

My fist memory of a stage is one that everyone can relate to, the school concert.  This annual event illustrated how the stage in the school hall can transcend from the dreary Monday assembly stage, to a magical place of performance and glamour.  I remember around 1987, playing the part of Bon Jovi’s keyboard player in grade 7 (Std 5), along with some of my other friends in a lip sync rendition of Living On A Prayer.

I was quite a shy child, so my parents enrolled me into a modern dancing studio when I was seven years old, to try to get me out of my shell.  The Playhouse theatre in Somerset West was the epicenter for most aspiring dancers in the Helderberg basin – a beautiful little theatre with all the bells and whistles.  I danced there for the first time when I was seven.  The stage was incredible and for me, at that age, it felt like it was the size of a football field.  It had an amazing labyrinth of little hallways and ladders backstage and always smelled of La Pebra hair gel and hairspray.  The bathroom had a poster on the door of a chimpanzee on a commode with rolls of toilet paper and the caption at the bottom of the poster read, “The job is not finished until the paperwork is done”.  I have so many fond memories and just seeing the building always gives me little butterfly’s in my stomach.

sonja_playhouse

My next serious stage was The Sea Point Civic Centre where the annual International Dance Teachers Association Eisteddfod was held.  It was an unfriendly, harsh stage, scary, intimidating and judgmental.  Standing in the wings of that stage felt like torture, I hated every second and it never gave me any joy.

One of my favourite stages is in fact a prominent one that I can’t remember whether it was a dance recital at Artscape (formerly Nico Malan) or the Baxter Theatre(!). I once had the privilege of dancing on that stage, it was magical and really felt like a stage for “grownups”.

I love the Stellenbosch Town Hall where we had the annual school eisteddfod.  I sang in the school choir until high school.  The building is old and smells of many decades of wood and brass polish.  It is also haunted and the backstage area was an incredible place, dark and old but great in a creepy sort of way.

Since performing in a band, my connection and perception of stages has changed somewhat.  They have become less magical and more practical.  Different places have different stages, some are small and rickety with no backstage area, and some are gorgeous and comfortable with beautiful backstage dressing rooms. Some are boards stacked on beer crates… Some professional stages are rigged by the sound and lighting company and can be fantastic, like Carfax in Newtown, Johannesburg, where we opened for Ministry – but the place ‘aint got no heart…

WP_20150304_20_41_09_Pro__highres_re

I am also remembering Witchfest at the Bassline (also in Newtown) that felt so massive, I had the feeling I was going to be swallowed.  And then you get places like my favourites, like the Klein Libertas with its luxurious dressing rooms and The Mercury in Cape Town, not only for its stage and its little backstage area but more so for all the love and support from staff and management.  I always felt welcome there, it was home turf.  They always made me comfortable and Lux was always there with water and beers backstage.  (Sadly the Klein Libertas burnt to the ground recently and in the same month the Mercury also shut its doors – the former is being rebuilt and the latter is said to have been bought over to open its doors again, under what name and whether they will continue its former vibe, we don’t know).

bluehandsimaging_1

Another great stage is ROAR in Observatory.  They have the one great element lacking in all the other venues, a curtain.  The value of the curtain is massively underestimated in live music venues.  A curtain allows for anticipation from the audience, it makes the artist feel protected and is just plain professional in my opinion.

Other stages with Terminatryx have ranged from Back2Basix and its foot high restaurant / live venue stage in Joburg, and a meter high solid stage of Zeplin’s in Pretoria (R.I.P), to a large hall stage for the Goth / Industrial Gathering (Cape Town) and a huge outdoor stage at Ramfest (Wellington).

sonja_merc_800px

Unconventional stages include the Labia Theatre (Cape Town) beneath the main cinema’s movie screen where our Makabra Ensemble perform new soundtracks for classic silent films at our film festivals like the Horrorfest, Celludroid and Sound On Screen, compared to the large permanent ones we did two of these movie soundtracks at the big OppiKoppi music festival (in Northam) – all the way down to the intimate, crammed “front-room” poetry night get-together at A Touch Of Madness, where my dark-folk project A Murder made its debut this week.

makabra_opkop09_stage1

For an artist, the stage is home, and in my life I have performed from a club in Berlin to beer crates in Gordons Bay.  While one can argue that a stage is merely a platform, and elevation, a soap box, it really is so much more than that.  A stage comes with people, passion, sometimes an irritated stage manager, a long suffering sound guy, expectations from the performers and the audience, lovers and haters.  It comes with hours and hours of rehearsals and loads of pressure.  All leading up to that moment of performance, be it dancing, singing, acting.  All of this takes place on that magical space we call the stage.

Live_mercury_11oct13