“Cape Crusader” is taken from Prophets of Da City’s 1997 release Ghetto Code — a long-time fan favourite. On the original, lead rapper Shaheen Ariefdien delivers his iconic introspective style, marked by sharp, distinctive wordplay. This remix introduces a never-before-heard second verse, originally performed during the group’s appearance at the 2015 Cape Town International Jazz Festival.
Prophetic Remixes Vol. 1 is available exclusively on Bandcamp, with the second instalment scheduled for release later this year.
This project serves as a tribute to Prophets of Da City, the South African hip-hop pioneers who rose to prominence in the 1990s. POC were more than a group — they were activists, truth-tellers, and cultural disruptors. At a time when South Africa was suffocating under apartheid oppression, they used music as a weapon against injustice. From censorship battles to exile from their own country, their impact on South African hip hop — and the broader struggle — remains undeniable.
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“Cape Crusader” is taken from Prophets of Da City’s 1997 release Ghetto Code — a long-time fan favourite. On the original, lead rapper Shaheen Ariefdien delivers his iconic introspective style, marked by sharp, distinctive wordplay. This remix introduces a never-before-heard second verse, originally performed during the group’s appearance at the 2015 Cape Town International Jazz Festival.
Prophetic Remixes Vol. 1 is available exclusively on Bandcamp, with the second instalment scheduled for release later this year.
This project serves as a tribute to Prophets of Da City, the South African hip-hop pioneers who rose to prominence in the 1990s. POC were more than a group — they were activists, truth-tellers, and cultural disruptors. At a time when South Africa was suffocating under apartheid oppression, they used music as a weapon against injustice. From censorship battles to exile from their own country, their impact on South African hip hop — and the broader struggle — remains undeniable.
A-Side Breaks Vol. 4 continues the journey — a crate of raw, unfiltered drum science crafted for dancers, DJs, and rhythm junkies who know exactly what that perfect break can do to a room.
This volume digs deeper into the DNA of the breakbeat. No nostalgia cosplay, no over-polished gloss — just straight, functional grooves built for cyphers, rehearsals, block parties, and those moments when you need the beat to speak louder than words.
Vol. 4 stretches across moods: dusty funk hits, minimalist percussion workouts, tension-builders for battles, and pocket-heavy loops for flow sessions. Each break is produced with intention — to move bodies, spark creativity, and reconnect dancers to the essence of why we listen in the first place.
For DJs, these are mix-ready. For B-boys and B-girls, they're footwork fuel. For producers, they’re sample-able foundations.
It’s another chapter in a growing archive of rhythm tools — built from the ground up, no shortcuts, no templates.
If you’ve been rocking with the series, welcome back.
If you’re discovering it now, tap in — the break is only the beginning.
Azuhl
“Cape Crusader” is taken from Prophets of Da City’s 1997 release Ghetto Code — a long-time fan favourite. On the original, lead rapper Shaheen Ariefdien delivers his iconic introspective style, marked by sharp, distinctive wordplay. This remix introduces a never-before-heard second verse, originally performed during the group’s appearance at the 2015 Cape Town International Jazz Festival.
Prophetic Remixes Vol. 1 is available exclusively on Bandcamp, with the second instalment scheduled for release later this year.
This project serves as a tribute to Prophets of Da City, the South African hip-hop pioneers who rose to prominence in the 1990s. POC were more than a group — they were activists, truth-tellers, and cultural disruptors. At a time when South Africa was suffocating under apartheid oppression, they used music as a weapon against injustice. From censorship battles to exile from their own country, their impact on South African hip hop — and the broader struggle — remains undeniable.
