Reviews

Vaka Hina - providing the undiluted sounds of Africa

The wonder of a release such as this from Mozambique-raised Melbournian Carlos Panguana is that is actually sounds as if it came from Mozambique. These are raw expressions from a soul very much with his feet in the dust of home, Panguana delights in providing the undiluted sounds of Africa. No Ry Cooders, no Peter Gabriels, no duets with Dido and the ubiquitous Bonnie Rait; this early release benefits from what it resists, its authenticity only tested by it not being a 50-cent pirated cassette purchased from a kindly gent on the dusty streets of Maputo.

Vaka Hina breathes a dominant African spirit among its stripped and soulful musings. Often with only subtle percussion, marimbas, a twanging one-string bow or cascading acoustic strings, Panguana’s voice is left as the dominant instrument throughout. With hints of fellow southerners, Mtukudzi and Mapfumo, Panguana captures within his range a throaty rasp smoothed with emotive honey.

From the moving Mikhombo, grasped in its five minute entirety by a jolting one-string bow and Panguana’s vocal power paying tribute to something, or someone, or some place or time that seems to have caused his soul to bleed from the speakers, to the pounding, pulsing and soaring vocal of Usywana, Panguana is in control.
 
He takes the listener to the bare backed street corner jam of Ipsehdru, reminding those of us lucky enough to have visited Africa of moments when the humble jerry can or milk powder tin becomes the core instrument of foot-shuffling joy.
 
And then comes his master ace. The title track, Vaka Hina blooms in a delicate cascade of soul. Here electronica makes its one and only debut, but who cares, it's beautiful. Caught up in a Marrabenta shuffle the electronic thumps and burps are kept in line by Panguana's voice and the addition of rousing call and response singing. One for happy nights in the village, be it Melbourne or Maputo.
 
He then follows with the subtle complexities of Sempre Foi, a delicate slice of acoustic lilting jive. Serving as a remedy for the bleary-eyed dancer it keeps in mind the joyful rhythms of memorable nights and guides them towards the Sandman with an eventual a cappella. A perfect ending.

Review by Jeff Donne for indie-cds.com 2006

"Kobya's songs reflect his own struggles as a musician, but also as an artist, photographer, dancer, actor, model and would-be soccer player. He sings of those struggles and loves and losses, but also of broader themes of unity and justice. No One I Know perhaps looks forward more to future musical stages than his previous CD releases. It is more electric and, though influenced clearly by an African heritage, is oriented to a more mainstream appeal.

The use of orchestral arrangements in Butterfly (which also features as a hidden track on Anthology) marks it as very different to the earlier work. And then, amidst these electric tracks there's a small medley - three acoustic meditations - where the production is almost one of a home recording. Kobya is a musician making several transitions - this is highly enjoyable music. " - Roger Holdsworth for indie-cds.com 2006

"Kobya (one is tempted to add: 'the artist formerly known as Carlos Panguana') came to Australia from Mozambique via South Africa and Zambia. This musical journey and its implications for his present work, are reflected in these two CDs. Anthology 1 draws together and remixes tracks from earlier CDs released by Carlos Panguana and adds three new tracks. No One I Know may herald contemporary directions for Kobya, as he returns to his traditional name. Yet strangely, it is the Anthology CD that contains predominantly traditionally-influenced songs, while No One I Know is all in English and represents a sharper electric-style production drawing on rock, blues, reggae and soul music.

On Anthology, Kobya starts with the new track Miele, light but driving. A growling bass and the judicious use of brass to highlight the melody keep it moving steadily forward. It's a great dance track. Elsewhere, especially on Home Away From Home, the music is unusually but positively marked by the use of strings; I was reminded of the string quartet in Van Morrison's Astral Weeks at times. Then a brief martial excerpt of Nkosi Sikelela is inserted. The songs have infectious rhythms that draw on marrabenta and other influences, but also have great harmonies from the musicians supporting him.

Kobya's songs reflect his own struggles as a musician, but also as an artist, photographer, dancer, actor, model and would-be soccer player. He sings of those struggles and loves and losses, but also of broader themes of unity and justice. " - review by Roger Holdsworth for indie-cds.com 2006

" Singing from the heart to break barriers …"

Justin Raymond
Centralian Advocate

"What Panguana does with his music is strike a deep inviting mood, drawing the listener into the song."

Terry Riley, The Age/Beat Mag.

"Ironically, if it had not been for his anti-government activities and apartheid in South Africa, Australian audiences may not have heard of this rising star."

Paulie Stewart, Sun Herald

"Panguana is a gifted musician an performer in his own right, this message is one of hope and strength to his fellows."

George K-Okai, the African Magazine

"Working with Anangu communities requires cultural sensitivity and an ongoing relationship and I consider Carlos has made a good beginning to what I hope will be an ongoing event …"

Karen Atkinson, ANTEP
Co-Ordinator, Ernabella, Fregon (SA)

"(Japanangka) Carlos came to our community and in a short time established a good rapport with the Walpiri Community and European people, especially to our "Blackstorm" band …"

Albert Wilson Jakamarra
Yuendumu Community Council - (NT)