Relocating from the Silver Lakes Estate to the hills of KwaMashu at a young age was part
of the foundation of the eclecticism that embodies everything that Sishii does.
Whether in front of the camera or behind the mic, Sishii yearns to uncover the pieces of his creative expression that connect him to God. Navigating the contrasts between lust and love, temptation and faith, A Night In The Hills is the next chapter in that story.
Moved by eclectic influences like Michael Jackson, Bon Iver, The Weeknd and Drake, Sishii unapologetically claims his place as a storyteller sensitive to the nuance of juxtaposition.
Citing the work of Dijon as a significant inspiration for the project, it is clear that the young star has taken that sonic inspiration to heart and, in true enigmatic fashion, turned his story into a musical cinema of dreams.
Powerful narratives and enchanting melodies weave the listener into the internal dialogue of a young Sishii as he journeys through a night out during his time at the University of Cape Town.
As if directed by Christopher Nolan, Sishii crafts a film-noir sonic pallet that transports the listener effortlessly into the mind of a young man inserted into a world of affluence and temptation, challenged by the will to hold on to his faith and love of God.
Following the cinematic theme, our hero finds himself falling in and out of love, experiencing great loneliness and peer pressure to eventually return to his melancholy and settle into the realisation that all of life exists in contrasts.
Opening with “Lifted”, we can hear the sonic influences of a 90’s kid who grew up to the melodies of 2000’s R&B and the work Ye. Gospel chords carried by organs sweep the listener into the throws of worship or the warm embrace of love. “I didn’t think that it was something I would make it out of. I was in the gutter, in the bottom, in the underground, now I’m in the city with the hills and tabletops…” we can see Sishii setting the scene for the narrative to unfold.
“Eve (The Fall)” sees Sishii succumbing to the temptations of the life he now finds himself living. He addresses his sadness, insecurity and lust in this alternative slow dance before eventually acknowledging that “Family is all I ever wanted, lord I don’t belong here if I’m honest.”
Breaking the melancholy in the unfolding narrative are stories like “I Don’t Dance”, which, ironically titled, is a Weeknd-inspired R&B/Pop masterclass that is sure to have listeners grooving and “Hey, Stunner” (titled with close reference to Bon Iver’s “Hey, Ma).
As the project draws to a close, we are transported to an underwater meditation. “When I Get Lonely” grapples with the fact that sometimes God knows us better than we know ourselves and is a place of solace when the grip of depression places us on a ledge.
Like all truly great cinema, we are left profoundly moved to feel and feel deeply. The open ending leaves room for the next chapter in Sishii’s unfolding story.