Album review overview: Memoryfield, The Paranoid Style and more
Dozens of new albums arrive at Maxazine’s editorial staff every week. Way too many to listen to them all, let alone review them. It ensures that too many albums are left behind. And that’s a shame. That is why today we post an overview of albums that arrive at the editors in short reviews.
Memoryfield – Wasteland
Memoryfield consists of guitarist Billy R. Preston and keyboardist Juliet Gamero. This musical duo has been together since 1993. Since 2015, they have added several singers, of which Robyn Cage is the best known. With this singer, Memoryfield released the single “Moonage Daydream” in 2019, which is their most famous ‘own’ song. Memoryfield also gained fame by releasing covers of David Bowie and The Cure, among others. There is also a cover of “Wasteland”, and “Easy As Sin” by Everything But The Girl. Robyn Cage also sings most of the songs on “Wasteland”. Her voice fits well with the melancholic music of Memoryfield. Fans of Indie pop/rock mixed with some 70s/80s prog pop/rock have a great album with “Wasteland”. (Ad Keepers) (8/10) (Self produced)
Elettra Storm – Powerlords
Elettra Storm is a new power metal band from Italy. “Powerlords” is their debut album, which will be released on February 16. The two vocalists sing about archangels, moon goddesses and underground civilizations. Daily fatigue, plus the good and bad things of humanity are also discussed. Singer Crystal Emiliani seems to reach the high notes with ease. Her clear voice forms an excellent contrast with the lower vocals of guitarist Francis D. Mary. Most songs contain enough twists. But “Origin Of Dreams” is less surprising. That is made up for with “Powerlords”. In several songs the tempo is quite high, sometimes it is at the expense of the dynamics. At other times the drumming is certainly dynamic. The lighter music sounds a bit too cold, although it is otherwise well-added. The bass and guitars often have a pleasantly heavy sound. Elettra Storm has created an exciting and melodic album. (Esther Kessel-Tamerus) (7/10) (Scarlet Records)
The Last Dinner Party – Prelude to Ecstasy
The London indies of the Last Dinner Party are off to a dream start with their debut album. Signed to a major, so no longer indie, they immediately pull out all the stops. Produced by James Ford, who was responsible for the ultra-modern sound of the last Blur, but also worked with Gorillaz, Kylie Minogue and the new Depeche Mode, you know how this clicks. Very good. The album is megalomaniac, as the band name and the title of this debut album suggest. Very good too, although it won’t be to everyone’s taste. Little indie pop, a lot of modern produced, ultra-commercially intelligent pop music. “Ceasar on a TV Screen” is very good. (Jan Vranken) (8/10) (Universal Music Operations Ltd)
Dina Ögon – Orion
Music that you thought was no longer made. Yacht rock, soft rock, bossa nova, a velvety female voice. Wow, we were taken back to the seventies by our Swedish producers and musicians’ club. Nine tracks on this album, each with their hook, their idea. Sitar there, lovely thongs there. These are musicians who work what they do. A wonderful album that no one can object to, a bit of everyone’s friend, a labradoodle among the new albums. But one that won’t irritate. Nothing new under the sun. Just nice. (Anton Dupont) (7/10) (Playground Music Scandinavia)
The Paranoid Style – The Interrogator
The fourth album by this garage-punk-pop band is based in Washington DC. Given their genre designation, you can already imagine that it is all meat and fish that you will be presented with as an unsuspecting listener. Singer Elisabeth Nelson sings completely unbelievable and uninspired. I suspect she’s trying to imitate Debbie Harry, but she’s rock ‘n’ roll. The vocals, the guitar solos, the rhythms, the production, the lyrics, everything is cowardly and substandard about this album. Unfortunately. (Jan Vranken) (4/10) (Bar None Records)
