Sometimes the internet is a marvelous thing. What we were discovering just weeks ago has since completely blown up and spread virally. I’m, of course, talking about Die Antwoord, South Africa’s finest art. And even the stodgiest of the old guard, The New Yorker, has hit on their magnificence. Check it.

If authenticity is a vampire threatening to suck the fun out of pop music, the South African band Die Antwoord (“The Answer,” in Afrikaans) is a fistful of garlic. Go to the band’s well-designed Web site and you will find a goofy, vibrant ball of confusion. Die Antwoord was founded by a South African music-biz veteran named Waddy Jones (Ninja, here) who celebrates zef, which translates roughly as “common” or “redneck,” but which Jones claims is a synonym for “the ultimate style.” This dicey language game will be refereed by South Africans; everyone else can unravel the band’s musical preference for the nineties. (Vanilla Ice and Technotronic come to mind.) The band is better at generating questions than answers. What’s with the post-Keith Haring illustrations? Why does the band member Yo-landi Vi$$er look like both a model and a normal teen-ager? Is Die Antwoord a celebration or a sendup? Get ready for a fight about the legitimacy of the group and, hopefully, for an influx of more South African pop culture.

What’s next? The Wall Street journal reviewing The Behemoth’s next record? A four page article on Detroit Ghettotech in the Conservative Chronicle? An editorial in The Economist on the best places in Brooklyn to drink on a Saturday afternoon? Will the wonders never cease?!

Check the original here.

Thanks for the heads-up, Sarah!