Review: There's rather a lot of mystery surrounding Fortuna Records latest release, which comes from a previously unheard (and decidedly publicity-shy) producer known only as Moontribe. The album itself is intense and otherworldly, with the mystery man or woman dousing heavy African tribal rythms with intoxicating Middle Eastern instrumentation, off-kilter organ lines, mind-altering Jew's Harp motifs and copious amounts of 1970s style type echo. The resultant cuts veering from dense, percussive workouts (wild opener "Moontribe") and jaunty, intergalactic jams ("Technology", "Bottles"), to deep space soundscapes ("Moon's Moon"). It's very impressive and immersive stuff, all told.
Review: Long lost groove gold from South Africa, The Movers blessed the world with almost 20 albums during their tenure throughout the late 60s / 70s. A fluid collective with scant documentation on their history, key players changed in the band frequently but Soundway have traced the credits of this rare opus down to producer David Thekwane and musicians Jabu Sibumbe, L Rhikoti, Lloyd Lelosa and Sankie Chounyane. Whoever the line-up was, the key sounds were always consistent as the troupe writhed and frolicked around disco soul axis, as is best celebrated here on the thumping funk fusion of the title track, the sweaty insistency and tightness of "Beat" and the awesome falsettos of "Work Is Done".
Review: After starting the year with a fine EP of fresh Italian deep house dreaminess from rising star Rhythm of Paradise, Colin Volvert's Kalahari Oyster Cult label dips its toe into the reissue scene via a new edition of a legendary Kwaito full-length. Mpumi's Singapore album has long been considered one of the most important releases from the early years of South Africa's indigenous, pitched-down house movement - a joyous expression of the "freedom dance" vibe full of saucer-eyed synthesizers, tweaked New Jersey garage influences, luscious vocals and more colourful dreaminess than your average Sueno Latino 12". Wisely, Volvert's label has not only given the album a deserved re-master, but also stretched the tracks across two slabs of wax to allow for louder, DJ-friendly cuts.