Artiste: Moonchild Sanelly

Album: Full Moon

Rating: ****

A party-starter from South African singer-rapper Moonchild Sanelly, the 40-year-old is unapologetic and fun. There are glimpses of South African dance genres such as amapiano and gqom. She keeps the overall sound to what the singer calls “future ghetto funk”. The messages are simple — pleasure, independence and, of course, having a good time.

Recorded in Malawi, the UK and Sweden, cooking-based sexual suggestions fill In My Kitchen, complete with an unforgettable baseline while Mntanami touches the heart when she imagines her father seeks forgiveness for neglecting her.

Sanelly, whose real name is Sanelisiwe Twisha, was raised in Port Elizabeth. She took up music seriously after moving to Durban to study fashion. What makes her music special is the fluency with which she can mix African and Western genres.

To Kill a Single Girl (Tequila) has hit written all over it because we want to hear about how tequila is no good for the spurned. The album opener Scrambled Eggs is dedicated to her favourite hotel breakfast while Do My Dance has all the shake-shake elements.

Produced by Johan Hugo, Full Moon has the much-needed shrieks but, at times, the catchy hooks can be repetitive. Mostly imaginative, there are moments when interest drops.

Artiste: Dave Stryker

Album: Stryker with Strings Goes to the Movies

Rating: **

Dave Stryker

There was a time when musicians often revisited film music, gave it their treatment and made it worth unwinding to after a day’s work. American jazz guitarist Dave Stryker tries the formula and there are moments when he reels in the listener with his irresistible flair but not everyone wants to hear another interpretation of Cinema Paradiso or You Only Live Twice. Consider this more of a personal album, meant to entertain an ageing crowd.

His approach is masterful and the interpretations are exceptional, starting with In Your Eyes, in which he engages Sara Caswell on the violin. Stryker truly strikes by the time we reach Theme from Shaft. Meticulously planned, it’s full of surprises.

Equally impressive is his approach to Henry Mancini’s Dreamsville, Rodgers and Hammerstein’s Edelweiss and Ennio Morricone’s theme from Cinema Paradiso. Flawless. He shares space with alto saxophonist Greg Ward on Taxi Driver and Flirtbird, with flugelhornist Mark Buselli (also on Flirtbird) and trombonist Jim Pugh on Moonglow, from the film Picnic.

Most of the music unwinds slowly with Stryker unleashing magic with his guitar but the other members of his group could have enjoyed more attention.

After a point, words like “repetitious” and “tiring” come to mind. Perhaps it’s the choice of material. Perhaps it’s the arrangement. Or perhaps most of us lack the sound system such music is meant to be heard on.

Artiste: Ethel Cain

Album: Perverts

Rating: ***

Ethel Cain

The American singer-songwriter delivers lyrics that celebrate Southern gothic themes. The successor to Preacher’s Daughter celebrates darkness and deep reverence over 90-odd minutes. An ode to drone music, into religious emotions and sexual violence. Her drifting sound has won her a cult following, like Lana Del Rey.

Disintegration is a running theme through the tracks. Houseofpyschoticwomn, which takes its name from Kier-La Janisse’s book examining the portrayal of mentally-ill women in horror films, focuses on the refrain of “I love you” until it’s mangled. Pulldrone, the longest track on the record (clocking in at 15:14 minutes) has an ominous hum and then words run out.

Her voice sounds best on tracks like Onanist and Amber Waves, which have glimpses of earlier releases. A highly complicated album, packed with emotive vocal performances, there is a sense of powerlessness running through. The problem is most listeners won’t be able to take in the album in one sitting because of the chill and eerie ambient soundscape.

If Preacher’s Daughter was about the family system and crisis in the religious setup, Perverts turns self-loathing into self-satisfaction.

Artiste: Mac Miller

Album: Balloonerism

Rating: ****

A fitting tribute to rapper Mac Miller who died in 2018. The second posthumous album dives into misunderstandings and lost innocence while recurring themes include life and death.

Recorded in 2013-14, the album finds him at a low point. For his fans, much of Balloonerism is not new and the album may even sound like outtakes from Miller’s 2013 sophomore effort, Watching TV With the Sound Off and Faces, a self-released mixtape. But to others, it’s an entry into Miller’s world.

The album’s highlights include Rick’s Piano, one of two songs recorded at Rick Rubin’s Malibu studio. The electric guitar and bass lines take over Stoned and Mrs. Deborah Downer. The SZA-assisted DJ’s Chord Organ has a touch of jazz and SZA’s vocals shine here.

Balloonerism celebrates Miller’s musicianship while asking the listener to accept loss as a part of life. For many it will be the message in Rick’s Piano that will stay on: F**k the future. Though most of the album won’t feel linear enough, the beauty of Balloonerism is how Miller introspects on philosophical questions about life and death.