Album review overview: Belfountain, Beau and more

Dozens of new albums arrive at Maxazine’s editorial staff every week. There are 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.

Belfountain – Some Hearts

“Some Hearts” is the debut album from Belfountain, the new indie-folk-rock project of award-winning producer Chris Graham. With self-produced tracks, the album offers an authentic mix of old and new sounds, full of surprises and familiarity. The singles “Give It Up” and “Tell Me When It Rains” have already made a significant impact on North American radio. The upbeat “Give It Up” is a perfect uptempo power-pop-rock anthem, while “Tell Me When It Rains” is a classic soul ballad using climate change as a metaphor for a failed romance. “Through the Darkness” and “Won’t Turn Back” bring country and gospel influences, and “We Will Rise” offers inspiring western vibes. “Rattle On” and “Worst Enemy” experiment with baroque and eclectic styles, while “Fall Into The Past” evokes nostalgia with piano and vocal melodies. “Rocks” adds a jazzy trip-hop feel with Tia Brazda, and the closing title track “Some Hearts,” a duet with Colleen Brown, poses the question: “Would you do it again?” With this diverse and emotionally charged album, Graham showcases his versatility and craftsmanship as an artist and producer. A delightful surprise! (William Brown) (8/10) (Flatcar Records)

Duel – Breakfast With Death

The American stoner metal band Duel has undergone a lineup change, with the rhythm section replaced, making their sound even heavier. Last year, the band released a live album and their previous studio album came out in 2021. The band blends ’70s and ’80s metal with ’60s psych, often with occult themes. This mix has proven popular, as their latest album “In Carne Persona” was well received. As mentioned, this new release is a bit heavier. Pounding riffs are showcased in songs like “Fallacy.” The raw voice of singer Tom Frank pairs well with the raw production, bringing out the dark elements of the songs. The album cover might be questionable, but musically, it’s a solid offering for fans. However, it doesn’t quite reach the level of its predecessor. (Rik Moors) (7/10) (Heavy Psych Sounds)

Bashy – Being Poor is Expensive

Bashy has returned after 15 years with his highly anticipated album “Being Poor Is Expensive,” and he certainly does not disappoint. This album, produced by the talented DJ Toddla T, offers a listening experience akin to an immersive film, bringing the life of London’s Brent neighborhood to life. The production is excellent, with a mix of delightful beats and seamless raps. A highlight is “Sweet Boys Turned Sour,” an infectious track perfect for repeat listening. The title track has a reggaeton vibe, typical of the vibrant East London music scene, showcasing Bashy’s versatility. The album is varied and lyrically strong, especially evident in tracks like “Made in Britain.” This song starts with a heartwarming recording of Bashy’s grandmother addressing her grandchildren, then transitions into a powerful track that UB40 couldn’t have matched at their best. The lyrics are impressive and profound. With his blend of personal stories, social commentary, and musical craftsmanship, Bashy delivers an album that is both authentic and innovative. “Being Poor Is Expensive” demonstrates that Bashy is not only a talented rapper but also a master storyteller. He has produced the best British rap album of 2024, a true gem that deserves its place in the music world. (Elodie Renard) (9/10) (Bish Bash Bosh Music)

Cassandra Jenkins – My Light, My Destroyer

Cassandra Jenkins has delivered an impressive masterpiece with her new album “My Light, My Destroyer.” This album, consisting of thirteen tracks, each more beautiful than the last, marks a significant leap forward in her musical career. With her unique voice and broad musical palette, she captivates listeners from the first note. The album opens with the ethereally beautiful “Devotion,” a song so stunning it gives you goosebumps. Jenkins’ voice, combined with delicate arrangements, creates an almost spiritual experience. She then surprises us with “Clam’s Casino,” immediately showing her love for variety. This song, delivered with Chrissy Hynde-like coolness, could easily be a favorite on a Pretenders album. Throughout the album, Jenkins continues to surprise and engage. For example, “Delphinium Blue” offers an almost entirely electronic backing with a distant counter-melody, giving the song a dreamy, atmospheric quality. This switching between styles and moods is a constant on “My Light, My Destroyer,” forming a remarkably diverse yet cohesive set. Jenkins’ collaborations with strong musicians and Andrew Lappin’s production contribute to a sonically diverse album. Her ability to seamlessly blend various genres, from indie rock to jazzy sophisti-pop, showcases her growth as an artist. Tracks like “Devotion” and “Clam’s Casino” demonstrate her fearlessness in experimenting and exploring new musical territories. “My Light, My Destroyer” deserves a well-earned 9 out of 10. This album is not only a highlight in Jenkins’ oeuvre but also has the potential to be regarded as a masterpiece in the future. Cassandra Jenkins has solidified her place in the music world with this album. (Jan Vranken) (9/10) (Dead Oceans)

Bau – Tranquillity

Bau, born Rufino Almeida in 1962 in Mindelo, São Vicente, Cape Verde, has delivered an album with “Tranquility” that unfortunately doesn’t live up to his previous successes. Bau, who learned his musical skills from his father, an instrument maker, has impressed in the past as a member and later musical director of Cesária Évora’s band and with his contribution to Pedro Almodóvar’s film “Talk to Her.” However, with “Tranquility,” he misses the mark entirely. The album attempts to create a meditative atmosphere but fails. The first track, “Tranquil,” starts promisingly, but the repetition of a simple three-note tune quickly becomes unbearable. The lack of variation and depth soon causes the listener to tire of the monotonous nature of the album. What began as an attempt at serene music ends in an unimaginative monotony. Bau continues this pattern throughout the album, making “Tranquility” more irritating than relaxing. Intended to bring calm, this album instead causes frustration due to its monotony and lack of musical development. Unfortunately, we must conclude that “Tranquility” offers nothing for those seeking quality meditative music. (Anton Dupont) (3/10) (Lusty & Sleek rec)