Mail & Guardian reviewers give the lowdown on the hottest albums to hit the shelves this festive season. Great for stocking fillers
South Africa
Koos Kombuis
Koos Kombuis (SMD)
This should be your prayer, if you’re an artist: “Please Mr God, never make me a spokesperson for a generation.” It must be like being the manager for a punk band: they love you when you’re feeding them drugs, but spit on you when you’re trying to get them out of bed. Koos was a spokesperson; now he’s a legend. And this CD is just a collection of great songs by a man who can’t be bothered to be either. It’s classic Koos Kombuis. Lovely, touching songs about idyllic childhoods, seaside cottages and the recession blues rub up against funny, slightly coarse, even inappropriate, ditties about drunkenness and Beyerskloof Pinotage. There have been times when this concatenation has done Koos’s work a disservice, such as the irritating ‘n Kaartjie van Koos and its ‘Ek weet ek was a doos” chorus, on the otherwise immaculate ‘n Jaar in die Son (with Valiant Swart). Not in this case. It all hangs together. Perhaps it’s significant that this is Koos’s first eponymous CD. Like the man himself (and this is extrapolated from his recent output, including columns, books and tweets), the album takes its contradictions and offers them up for our delectation and dissing. There are the usual lyrical flourishes, such as: “You strangled me with kindness as you dressed me up for school”, with Koos as Em en Em, the Afrikaans Eminem, and the sometimes awkward paeans to nostalgia. There’s also a lovely version of the ethereal, timeless beauty that is Lisa se Klavier. Nothing can damage that song, not even being covered by The Parlotones. The production is elegant in its sparseness, an effect you can carry off only with collaborators such as Lize Beekman, Lesley Rae Dowling, Schalk Joubert and the fabulous Tim Parr (whose 1996 album, Still Standing, is one of South African music’s forgotten gems). If you’re looking for a spokesperson, buy some Ben Sharpa. But if you’re looking for the wry musings of someone who lives in our world, listen to this. — Chris Roper
Jozi
Wildlife (Ghetto Ruff)
Wildlife sounds like Jozi’s coming-of-age album. Or should I say, a more mature one. It is so much better than anything the group has done before. This, undoubtedly, is not only for hip-hop followers out there, but also for those who have an appreciation for African music and a bit of 1980s bubblegum. Living in Africa begins with a strong string intro from Mahlathini and the Mahotella Queens’s famous Kazet and is followed by Brenda and the Big Dudes-influenced Party Time. In Too Many Fish, the boys borrow from another of Brenda’s old-time hits, No, No, No Signor. Jozi’s three members all seem to add individual value that makes a perfectly talented set-up and their exploits into the African continent and the many successful local gigs are proof of that. Tracks to watch out for this summer are, without doubt, Dance Like, Africans Worldwide, Gotta Keep It Going and the ethnically grounded Africa, featuring Ruff X. A must-have this summer. — Monako Dibetle
Nomfusi and the Lucky Charms
Kwazibani (Universal)
It isn’t difficult to tell that Nomfusi is inspired by Sophiatown jazz musicians such as the talented Abigail Khubeka. But it is unexpected that a young woman such as herself would release such a mature and honest album. Raised in Khayelitsha, Nomfusi’s life wasn’t easy. She grew up without a father and lost her mother to Aids at 12. Her guardian aunt died three years later. Her lyrics are often sad and reflect the experiences of her life. Nontsokolo (meaning poverty), for example, talks of a girl whose name is poverty and knows poverty; Kwazibani is a song for and about her mother. Her lyrics sometimes take a gospel turn, such as in Ngcwele, which is a song to the Lord that leaves the listener slightly confused about her music’s genre. For non-Xhosa speakers it is refreshing to have the lyrics translated into English, making her music accessible. Instead of being paralysed by grief Nomfusi has used her painful experiences to catapult her into the world of music. But at times the tracks drag on longer than necessary and there are a lot of lyrical repetitions. — Karabo Keepile
Mafikizolo
Best of (Universal)
I couldn’t understand why Mafikizolo would come up with a Best of album — isn’t it too soon? Could this, maybe, signal the beginning of the end for this once-celebrated Afro-pop outfit? Much has been said about the group’s comeback album, but that remains hearsay, as members continue to rush into droopy solo projects, with the exception of front man Theo Kgosinkwe. Kgosinkwe’s debut solo project, I Am, earned him best Afro-pop album at this year’s Samas. Best of features great tracks such as Ndihamba Nawe, Sibongile, Nisixoshelani and others from their past albums. But I noticed that a lot of the group’s most popular songs, especially from their third album, Kwela, were not included in this compilation. Emilanjeni, Msheli Wami and Umntu Omnyama surely deserved a place in this compilation. But Best of still makes good listening and the new bonus track, Walila, sounds great. It’s the parties, wedding bashes and freshman gigs you went to in the past five to eight years all over again. — Monako Dibetle
Ishmael
On the Edge (Ghetto Ruff)
Fresh! That’s what I’ll say about Ishmael’s new album. Judging from the title, I think the smooth crooner, who’s also a member of hip-hop outfit Jozi, is close to achieving what he’s been struggling to be for more than 10 years — a really great singer. I think Ishmael has found his mojo. The release of his solo project in 1999 was believed by many of his fans to be the beginning of many great things. Well, it was not. But here he is again with a great release 10 years after that album. Here, smooth R&B sounds meet hip-hop, performed by some of this country’s artists who seem to up their game with every release. Watch out for many great tracks here, such as Soldier Boy, Like Instruments in Jo’burg City, Hey Hey featuring Boostyiz and Special featuring Da Les. — Monako Dibetle
New Holland
Exploded Views (Rhythm Records)
With a host of indie alternative bands such as Ashtray Electric and aKing hitting the South African scene in the past few years, New Holland had to be as hard-hitting as their tractor name to make an impact. Fortunately, their name is the only thing they have in common with agricultural tools. Instead they harvest new sounds in an indie genre that is as diverse as it is bold. Exploded Views is their second album after 01, which acquired a cult following of sorts. The second is a bit different, definitely more mainstream and more rounded off. Singer Teejay Terblanche is hot and, as a front man that can sing, he should acquire a clear-cut female following. Every time the album played I discovered something new that I liked. The lyrics are often brutally honest and bare. These guys like to sing about sexuality and at their launch in Cape Town they showcased naked female forms — but nothing untoward, I was assured. The sounds on their CD are certainly diverse and the cover art has been designed in such a way that you, the listener, can decide which cover you would like for the CD. The first single, Something to Believe In, is already gaining a new following for the band and their underground cult days look to be something of the past. South Africa’s next big indie band? Only time will tell. — Yolandi Groenewald
Karen Zoid
Ultimate Zoid (Just Music)
Eight years after hitting the local rock scene with her loud guitar, louder mouth and catchy tunes, Karen Zoid has released a best-of album, although there may be an argument that it’s way too early for her to release such an album. The album consists of two CDs — a compilation of 20 songs, presented as her best work of the past eight years. The second disc is a live concert, with 16 songs (note: a CD, not a DVD). But songs such as Afrikaners is Plesierig, Engel and Beautiful have become anthems in their own right and her record label may argue rightfully that she’s become a legend in her own time, the voice of a generation. Zoid, of course, has mellowed out in the past few years — she married, had a child and turned to Jesus. This alienated some of her earlier fans, but also opened for her a new, more commercial market, which she entered with her English-only 2007 album, Postmodern World. Ultimate Zoid is a combination of both Zoids — the earlier, angrier one and the more chilled Aeroplane Jane. Although one misses some of her funkiest tunes, such as Taxi, Maak nie Regtig Saak nie and Ons Soek Rock & Roll, the album is a successful compilation of one of our biggest stars of the decade. It’s beautifully packaged and will make a great Christmas gift. — Adriaan Basson
Thieve
Gold (Rhythm Records)
This pop-rock band, as with so many quality indie outfits these days, has a connection with the Bellville rock crowd; Fokofpolisiekar’s Johnny de Ridder was in charge of post-production, for one. But the band was largely driven by Fokof’s Jaco “Snakehead” Venter, who spotted the potential of the original jammers and pulled the band together — although he is not a part of the band’s trio. The result is a rocking sound filled with energy, crazy riffs and foot-tapping bass sounds reminiscent of aKing and, to a lesser degree, Fokofpolisiekar. Last Day December is already burning up the airwaves and the rest of the album takes the strong guitar-based sounds to a new level. Fred Den Hartog — formerly of the now defunct Die Helde — must be one of South Africa’s most talented guitar players judging from this album — and his sounds carry the CD to a large extent. Philip Erasmus plays drums and Andrew Davenport, formerly of Ashtray Electric, completes the make-up of the Bellville-based band. With tons of attitude and magnetism, Gold definitely is a listenable album. But the sound is not all that different from what we have heard before — it’s safe indie pop-rock that is sure to win over a lot of people and provide a soundtrack for many listeners. — Yolandi Groenewald
Africa
Cesaria Evora
Nha Sentimento (Sheer Sound)
Cape Verdean singing legend Cesaria Evora is back with her 11th studio album, her first in three years. Recorded in Paris and mastered in New York, Nha Sentimento is a laid-back tour through the music styles that Evora is famous for and is her first album since her stroke in 2008. Following her stroke Evora has settled into a much more relaxed lifestyle for health reasons and this shows on the album, which at times is a little too calm for its own good. With light percussion backing from Tey Santos, it is heaped with nostalgia for the golden era of Cape Verdean music in the 1950s and 1960s. The album has a lot less of Evora’s Cape Verdean blues style, with only three mornas appearing on the album. But the highlights lie elsewhere and include Verde Cabo di Nhas Odjos, Ligereza, Fatalidade and Noiva de Ceu. — Lloyd Gedye
Fred Fisher Atalobhor
African Carnival (Vampi Soul)
Spotted in 1972 while recording a vocal session in Lagos, trombonist and singer Fred Fisher was soon recording his own albums with his own band. The resultant sound was dubbed Asolo Rock, a blend of Afro funk-rock with soulful melodies, or what I like to call damn funky party vibes. From the opening track, Say the Truth, with its reggae groove, it is quite clear that Fred Fisher is a long-lost star of African music, Nigeria’s answer to Toots and the Maytals. But it’s not all reggae grooves — there are tastes of the Fela Kuti-pioneered Afrobeat and the more laid-back highlife genre, popularised in Ghana and Nigeria in the early 1900s. Fisher’s band fell apart when Kuti poached one of his band members after they shared a bill, but at least we have the four albums compiled on this double-disc compilation, which were recorded between 1979 and 1990. As Fisher says in the liner notes: “If you want to dance, this is the album that makes you dance away all the sorrows in you.” So get ready for your own personal exorcism. — Lloyd Gedye
Victor Olaiya’s
All Star Soul International (Vampi Soul)
He may have been dubbed the Evil Genius of highlife, but this reissue of his long-lost 1970 album shows that Victor Olaiya had a lot more tricks up his sleeve. Blending the sounds of highlife with those of the raunchy American funk that was making its way across the airwaves, Olaiya sounds like Nigeria’s answer to James Brown on this all-time classic album. Graduating from Lagos’s Ekopo Band, a street outfit, Olaiya was soon an in-demand musician playing in numerous local bands. In 1954 he grabbed his moment, launching his own band, The Cool Cats, which offered early apprenticeships to Nigerian legends, such as Fela Kuti, Tony Allen, Sunny Ade and Sir Victor Uwaifo. But by the time he recorded All Star Soul International his prodigies had moved on to their own fame and Olaiya was battling against a whole new host of soul-influenced bands. One listen to tracks such as I Feel Alright and Magic Feet and it’s clear — Olaiya had them licked at their own game. Form is temporary; class is permanent. — Lloyd Gedye
World
Buena Vista Social Club
At Carnegie Hall (Sheer Sound)
Opening with the classic Chan Chan, penned by Eliades Ochoa, the latest Buena Vista Social Club release is a powerhouse reminder of how grateful music fans should be that Nick Gold and Ry Cooder made that trip to Cuba more than a decade ago. What was initially intended to be a collaboration between Cuban and African musicians instead became a revolution of Cuban music, bringing names such as Ibrahim Ferrer, Rubén González, Manuel Galbán and Ochoa into millions of homes around the world. So, to follow the biggest-selling world music album of all time, comes the recording of this historic performance in New York in 1998. “Being on stage with those musicians and singers was a dream for me,” recalls band leader Juan de Marcos. “But Carnegie Hall was something else.” I have to agree — spectacular! — Lloyd Gedye
Various Artists
Panama! 2 (Sheer Sound)
Miles Cleret’s Soundway Records returns with its second scintillating collection of funky tunes from Panama. Subtitled “Latin Sounds, Cumbia Tropical & Calypso Funk on the Isthmus 1967-77”, Panama! 2 is one of the finest party albums you may ever own. These grainy recordings by bands you most likely have never heard of are spirited in their live one-take nature, exploding into fits of raw funk and soul, with horn sections riffing the night away. Whether it’s the Los Superiores, with their funky jam Descarga Superior, or the Soul Fantastics’ groovy take on Bill Withers’s Ain’t No Sunshine that rocks your world, there is not a single dud track on this marvellous compilation. And with Panama! 3 set to hits shelves in South Africa soon, this is not one to miss. — Lloyd Gedye
Various Artists
Back to Peru Vol 2 (Vampi Soul)
Oh, sweet joy! Who would have thought that Peru had such a vibrant contemporary music scene in the late Sixties and early Seventies. Inspired by the rock, psychedelic pop and soul music pouring out of the United States and the United Kingdom, these Peruvian locals amped up their guitars to gritty proportions — and, boy, did they deliver. From garage-rock stompers to raunchy funk, from surf-rock to psychedelic pop, this double-disc compilation is a mind-expanding trip into the Peruvian underground circa 1964 to 1974. If you’ve loved rock ‘n roll and soul music and you have a predisposition for a more exotic taste, this album is for you. Whether it’s the rough-and-ready garage rock of bands such as Los Saicos and Los Drags or the psychedelic experimentation of Pax and Telegraph Avenue that gets your blood racing, one thing is for sure, Peru was one happening place in the late Sixties, despite the political turmoil. This compilation is absolutely essential for adventurous listeners. — Lloyd Gedye
Jazz
Sachal Vasandani
We Move (Sheer Sound)
Sachal Vasandani is by far one of the freshest voices in the jazz scene today. His singing allows for a sustained emotional intensity, unique to his smooth and understated voice. This 14-track offering, though his second major release, is actually his fourth, if you count his first two independent releases. The album opens with a groovy number, titled Escape/There’s a Small Hotel. It sets the tone for a dreamy escapist motif as the music invites you into joy, though always emphasising a mature restraint, never too indulgent. The band sets up an ebb-and-flow musical game, moving between long vocal notes and short samba-like rhythms. It’s with the more unhurried and languid compositions, such as There Are Such Things, that Vasandani’s tone grows most elegant, swinging effortlessly when the moment requires. He is accompanied by a capable band of instrumentals too, including Jeb Patton on piano, delivering imaginative solo across the board, as when they pay homage to Thelonious Monk on Monk’s Dream: A Worthy Treat, which Vasandani aptly vocalises. My only qualm is that the horn arrangement on Heartbeat, the second-last track, should have been featured more. This album carries an endorsement by trumpeter Wynton Marsalis, who describes Vasandani as unique and consistent. As if that wouldn’t be enough for credibility, he is co-produced here by legendary jazz bassist John Clayton. — Percy Mabandu
Robert Glasper
Double Booked (EMI)
With Double Booked Robert Glasper has found a way to package his acoustic sounds with his more electrified music into one album without confusing or mixing them. He divided his fourth album into two thematic blocks, which can easily be seen as his musical portrait, showcasing the broadness of his musical interests. The first six tracks feature him in a trio setting, teamed up with bassist Vicente Archer and drummer Chris Dave. They explore straight-up jazz. Glasper’s hip-hop sensibilities are a constant feature throughout his assertive playing, the most obvious of which is an echo of De la Soul’s all-time classic, Stakes Is High, which he infuses into Think of One, a Thelonious Monk composition, albeit without the original’s horn lines. The last six arrangements comprise the Robert Glasper Experiment. Here the pianist expands his band to include Casey Benjamin on vocoder and sax, as well as rapper Mos Def and singer Bilal as guests, among others. The section’s most notable experiment is their treatment of Herbie Hancock’s Butterfly. The track introduces Benjamin’s vocoding lines into a drum and percussive keys’ dialogue that creates a funky-jazz-post-hip-hop motif. The 1970s jazz classic is used to make a statement in praise of the creative investigative edge of its day. What Glasper achieves here is to find a place where jazz meets contemporary music — from soul to hip-hop and funk. — Percy Mabandu
Putumayo Presents Jazz Around the World
(Putumayo World Music)
Jazz Around the World is perfectly made for those sundowner hangouts with intimate company. The track selection presents a number of everybody’s favourite jazz and world music standards reimagined by a host of highly skilled musicians. Others are not so much standards as super hits. The Kora Jazz Trio reworks Chan Chan, a number made famous by the Buena Vista Social Club. It is one of the most refreshing versions out there. The conga, piano and kora are blended to turn the usually upbeat piece into an elegant ambient theme. Summertime, the George Gershwin classic, which has a strong opera and jazz history, is revitalised as a cosy world piece by Keletigui Diabate with Habib Koite and Bamada. The only doubtful inclusion here is Hugh Masekela with Malaika, who sound out of tune. Their sound is upbeat and should rather have been on a dance compilation. — Percy Mabandu
Otis Taylor
Pentatonic Wars and Love Songs (Telarc)
Otis Taylor’s brand of blues frequently oscillates between rejoicing rooted in the gospel tradition and lament. Sunday Morning sounds like a praise song from the Deep South and works effectively because of its juxtaposition with songs such as Lost My Guitar, in which he bemoans not being able to find his instrument, his best friend, and the result is an interpretation of the blues in its purest, forlorn form. But, as the title’s Pentatonic Wars suggests, Taylor experiments with discordant notes to interesting effect, meandering into keys that don’t fit, which makes for interesting listening but often isn’t all that easy on the ear. You get the feeling, especially from the middle of the album onwards, that he’s trying to be a little too avante-garde, sacrificing melody for a nod from the clever crowd. Still, the album is gritty and honest and a fan of jazz or blues should warm easily to it; a more engaging attempt than any of his work for a good decade or so. — Ricky Hunt
Electro
Major Lazer
Guns Don’t Kill People … Lazers Do (Just Music)
Opening with an Ennio Morricone-esque spaghetti western signature, it’s clear that Major Lazer’s debut album is going to be a lot of fun. With its Charlton Heston-aping title, Switch and Diplo are at play with this tribute to the dancehall genre. Ultimately, this is an album aimed at the dancefloor or the house party, whether it’s the sci-fi dancehall of Lazer Theme or the dub styling of Cash Flow that you get down to. It features guest vocals from a whole host of stars, such as Mr Lex, Santigold, Jah Dan, Mr Vegas and Ricky Blaze. Highlights include the stomping Afrobeatesque Mary Jane, which features Mr Evil and Mapei’s tribute To de Herb and the banging Pon de Floor, a guaranteed arse-shaker. This genre mish-mash of an album is a party igniter from start to finish, so make sure this is playing on your stereo this summer. — Lloyd Gedye
King Cannibal
Let the Night Roar (Just Music)
Ninja Tunes have done it again — this debut album by Dylan Richards, aka King Cannibal, is quality. It’s techno dub at its hardest — fresh and unashamed. Let the Night Roar is angry, industrial, no-shit-taking, head-banging stuff. The opening Aragami Style is furious electronic dub with a dark, frightening edge. From the skankable, though somewhat vocally disturbing, dancehall of Dirt, featuring Jamaican ragga vocalist old-timer Daddy Freddy, to the bass-heavy techno of Murder Us, a song of protest (with looped lyrics, “battery chicken in a box”), the album crosses the range of alternative dance music in a highly stylised and impeccably produced manner. There’s some well thought-out, techno-leaning dubstep on the closing Flower of Flesh and Blood. This album will wake you up, get you up and make you want to go out and cause some trouble with a hoodie and a bass face on. — Ilham Rawoot
Roger Goode
The Saturday Surgery Volume 5: Party Karate (Just Music)
Roger Goode is not the kind of guy who tends to disappoint. A lot of people would like to believe that compiling dance albums the way Goode does is just a matter of picking them and pasting them on a disc. But there’s more to it than that and the proof is in the dancing. The Saturday Surgery Volume 5: Party Karate two-disc compilation follows other great Goode compilations. Watch out for disc one’s Sharam featuring Kid Cudi’s She Came Along. Disc two has more super club/house tunes made by greats such as Harrison Crump, Sander Kleinenberg and others. But give a moment to TV Rock featuring Rudy’s In the Air — the album’s ultimate dance song. Also featured in this compilation are veterans Armand van Helden and Calvin Harris. Verdict: Roger Goode is too good for his own good. — Monako Dibetle
Rock
Wild Beasts
Two Dancers (EMI)
In 2008 Wild Beasts’ Limbo, Panto announced one of the most interesting rock bands to come out of the United Kingdom. Now less than a year later they are back with their second album, which unbelievably surpasses their brilliant debut. Whereas their debut was all wild falsetto vocals and dollops of pomp, Two Dancers is a shimmering record that has a groove that is reminiscent of early New Order. Opener The Fun Powder Pot is a mesmerising statement of intent that will have indie rock fans gliding across the dance floor, while Hooting & Howling is a disco rock classic that fans of Orange Juice and The Smiths will love immensely. All the King’s Men harks back to their older sound, but with a slicker feel, and We Still Got the Taste Dancing on Our Tongues is arguably one of the finest songs recorded this year. This band is going to be huge — get it now and be ahead of the curve. — Lloyd Gedye
Dinosaur Jr
Farm (Sheer Sound)
You would be forgiven for being suspicious of rock veterans reforming many years after their careers faltered, but Dinosaur Jr are an exception. They are still able to crank out scintillating slabs of fuzzy rock, every part equal to those late-Eighties and early-Nineties albums that earned them their reputation in their first place. Farm is their second album since their 2005 reformation and it easily matches 2007’s Beyond for kick-arse riffage. It is becoming quite clear that if any band has inherited the mantle laid down by Neil Young’s Crazy Horse, then Dinosaur Jr is that band. Just take a listen to Ocean’s in the Way and Said the People for confirmation. Bassist Lou Barlow contributes two songs to Farm, the first a stomping indie-rock tune called Your Weather and the second, Imagination Blind, closes the album. But it is guitarist J Mascis’s songwriting prowess that really shines throughout and his guitar work is just magnificent. I didn’t realise how much I missed them until they returned. Welcome back Dinosaur Jr! — Lloyd Gedye
Atlas Sound
Logos (Just Music)
Deerhunter frontman Bradford Cox is one prolific guy — last year he released one of the year’s finest albums with Microcastle and also managed to put out his first album under the Atlas Sound moniker. Now 2009 sees the release of the second Atlas Sound album and it must be in the running for containing one of 2009’s greatest songs. I’m talking, of course, about Walkabout, the bubbly pop masterpiece that features Animal Collective’s Noah Lennox. But Logos is no one-hit wonder — the psychedelic down-tempo Criminals is another album highlight and the title track sounds as though it could have been recorded by The Strokes while they were day-tripping on acid. Cox is clearly one of the finest musicians living in the US today and when he puts out records we should all pay attention. — Lloyd Gedye
Bastila
Bastila (Just Music)
This is a funky, feisty debut album. Pity it is also the last album from UK-based Bastila. The band is over — at least that’s what their Facebook and Myspace pages say. The guys from the Isle of Wight have an awesome brass and blues-infused punk-rock sound. They could have gone far and, even if they hadn’t garnered the attention of the celluloid elite, they would have no doubt developed a loyal following of off-the-beaten-track fans, if they hadn’t already. Songs such as the feisty What the Jester Saw and Jackie Boy are simply infectious. Then there are the mellowed-out numbers such as Ghosts, with its beguiling bass notes and eerie guitar riffs. Tragically, the likes of Bastila stop before they even start while trash like David Guetta gets all the airplay. — Lynley Donnelly