EarVasion – SAKHILE MOLESHE: The Final Call

SAKHILE MOLESHE: The Final Call

Released: December 21, 2018

label: Imilozi Music

Number of tracks: 15

Length: 1:09:12

Here is an album that challenges monotonous conventions while proving that an album does not have to be one thing; it can be many things held together by artistic innovation and creativity.

sakhile moleshe screenshot_20190122

  1. A New Day: (hip hoppy, jazzy bruzzy), the bass and the synthesizers are quite palatable. A promising introduction to the upcoming lineup.
  2. A Cry for Mercy: this track continues to take the Hip Hoppy feel that we encountered in track one further. The trans like chorus propels Sakhile’s lamentations for a physical and spiritual renewal.
  3. Be sure: Here is a track that will capture the lovers of Soul to the core from the syllables. It cautions the pinnacle of a break up. Those things we say or we might not say when as lovers we part following horrendous experiences of a fall out. Following a monotone, Moleshe’s voice chorus is haunting throughout the piece interspersed with a trumpeted and subtle guitar.
  4. The Final Call: title track, propelled by an acappella, skating lyrics fitfully raises the mood of this fine work. Indeed we should not give up on our dreams. Here the trumpet reigns supreme as the only instrument that pervades the heights that Moleshe lyrical builds.
  5. A Sad Day: A Hip Hop piece. Speedy but Accessible. One should mind the invasion of the monotonous beep bop beats interspersed with a guitar by an eerie violin like sound. Here the singer prophesies about quitting his day job and ask us whether we would do the same.
  6. The vinyl effected ‘Adjacent’ (featuring Jay Carson and Gustavo Mccyver) reminds one that this is a surprise ride, the album that is. Think HipHop meets Ambient. This offering takes of the frivolousness of being human in the face of death. Check out the bars on this drop.
  7. I’m Gone: an acappella and some skating opens this piece. The synthesizers creates an unpredictable canvas to what lyrically comes across as a prolonged fare well. Think extend interlude.
  8. On Your Own: the trans-like beat that is signatory to this album thus far serves the hip hop outing that is this is this track. Electronic voice modification adds texture. Otherwise the songs passes almost unnoticed.
  9. Fortune & Fame: Thanks to Neo Soul and Funk infusions (and there is that Cricket sound that accompanies the bass beat at the opening phrases; here is a song that may remind the listeners why they fell in love with the soulful voice of Sakhile Moleshe in the first place. It is a piece in fine form. The signatory electronic instruments are still there and are balanced by the bluesy trumpet, bass, some skating and the vibraphones that illusively enters the verses in the opening of one over third of the reminder of this track as a surprise treat. It is a self-portrait of the artist in question; cautioning themselves to remain humble in their amassing of fame and fortune.
  10. The SeTswana title Naga (The Land) [featuring Izithunywa Zohlanga, Kgafela Oa Magogodi]: Is a charged, brave and steadfast offering considering where we are in our countries history. Mind the trumpets and the skating that precede the sharp narration of Izithunywa Zohlanga.  The second phase of this anthem sees Kgafelo Oa Magogodi’s poetic concoctions hauntingly take reigns of an erected landscape that is Naga. Meanwhile the bluesy blurry trumpet and the skating holds this piece of a tale of a nation’s suffering and hope together. Wait for the final IsiXhosa poetic recount before the curtain closes off. Here with this piece the album The Last Call is in fit form as far as relevancy is concerned. It is woke.
  11. The Lament: This Spanish lyrical piece is pervaded by hip hop beats and bluesy trumpet that are signatory to this album and seem to serve as interlude between the strong Naga and the upcoming Blood of the Children which in my opinion ties the album into a knot.
  12. Blood of the Children: Mellow, slow and soulful. Reminds us of the near ambient sounds that are part of the staple of this album. the lyrics reminds us of the preciousness of children and

Tracks 13. On Your Own (Radio Edit), 14. A Cry for Mercy (Radio Edit) and 15. A sad Day (Radio Edit) show cases alternative takes on what has been offered. While I tend to think of extended mixes or different versions of songs as fillers one should not take away the fact that they offer a different texture of what one has heard before in the body of work presented. These last tracks round of the journey that is The Final Call.

Personnel:

Sakhile Moleshe – Vocals, synths, drums programming

Candice Martin – Violin

Hedley Veldsman – Guitar

Lwanda Gogwana – Trumpet

Jay Carson – Guest lyricist

Gustavo – Guest lyricist

Izithunywa Zohlanga – Guest lyricist

Kgafela Oa Magogodi – Guest Lyricist

Gavan Eckhart – Sound Engineer


Here is an album that challenges monotonous conventions while proving that an album does not have to be one thing; it can be many things held together by artistic innovation and creativity. in his debut outing Sakhile Moleshe’s versatile voice permeates all the aspects of this new gem. If you are finicky and you manage to get your ears wrapped around this one I recommend tracks 1, 3, 6, 9 and 10 and then you can listen to the album however you want. For the purists, take each track as it comes until you find your own favorites.

‘am normally stingy with ratings; I give this album 5deFPoints (√√√√√) out of five.

 

Summer

22 January

© mmutle arthur kgokong 2019

@mmutleak