Album review overview: Cowboy Boy, Meshell Ndegeocello 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.
Cowboy Boy – Lipstick On A Pig
The second album from pop-punk band Cowboy Boy once again features a cake as its cover art—a fun and recognizable choice. After all, who doesn’t enjoy a treat now and then? But if we’re sticking with this theme, this album is like choosing a cake you kind of like, but would rather have something else. It sounds okay, but it’s quickly forgotten, leaving you to turn to other bands. The guitar work stands out as a highlight on the album, with solos that are of decent quality, though not outstanding. The vocalist has a slightly whining tone, which is common in punk but still mildly irritating here. All in all, we can say the cake looks better than it tastes. (Rik Moors) (5/10) (Get Better Records)
Quantum Fantay – Oneironauts
Quantum Fantay has released “Oneironauts,” a title derived from two Greek words: “oneiro,” meaning dream, and “naut,” meaning sailor. This instrumental concept album tells the story of two lovers with the ability to consciously travel through their dreams. You’ll hear more synthesizers, soundscapes, and sound effects than on their previous albums, though bass and guitar aren’t neglected. Additionally, several tracks feature flute playing, such as in the opening track “Flight Into Hive Mind” and the title track. “Orchid Borealis” is the final track. Orchids have symbolic meanings in many cultures, perhaps also on this album. “Oneironauts” isn’t a “dreamy” album. Although there are some minimalist sections, there is generally a lot to listen to, partly due to the many details. The blend between synthesizers and (bass) guitar is well done. For some rock fans, certain parts may sound too “electronic,” and the amount of repetition might be too much for this group. However, the overall composition is well-complemented by drums and percussion. “Oneironauts” is a carefully crafted album. (Esther Kessel-Tamerus) (7/10) (Progressive Promotion Records)
Meshell Ndegeocello – No More Water: The Gospel Of James Baldwin
Meshell Ndegeocello returns with a masterpiece that explores the boundaries of musical creativity in an unparalleled way. “No More Water: The Gospel Of James Baldwin” is an adventurous journey that challenges both intellectually and emotionally. The opening track “Travel” is nothing short of a tour de force—a song that stimulates your mind and holds your attention from start to finish. It’s a piece you simply can’t fully grasp, so rich in layers and subtleties that it’s almost overwhelming. Even the spoken word track “Raise The Roof,” a genre often considered less musical, is imbued with musicality here. Ndegeocello brings a rhythmic dynamism that brings the words to life, almost making them sing. The two versions of “Pride” on the album are equally ingenious, each with its universe of sound and emotion, showcasing her extraordinary ability to break down genre barriers. With “No More Water,” Ndegeocello proves that groundbreaking music is still being made in the modern era—music that not only resonates with listeners but also explores new paths. This album is a breath of fresh air and one of the best releases of the year. For those who still doubt the power of contemporary music, this album is a must-listen. Turn off your radio, tune out the oldies station, and dive into this musical revelation. (Jan Vranken) (9/10) (UMG)
Poison Ruin – Confrere
After the incoherent mix of genres and generally poor sound of Poison Ruin’s previous albums, their third album “Confrere” is a disappointment of epic proportions. Where “Harvest” managed to entertain with its dark, dungeon-synth-driven atmosphere, “Confrere” completely misses the mark on all fronts. With only seven tracks, this album still manages to feel like a long, arduous listen. The lacklustre composition and subpar vocals offer little to nothing of value. Promising an interesting fusion of black metal, darkwave, and post-punk, the result here feels like a lifeless attempt that goes nowhere. The DIY aesthetic, which can sometimes lead to creative highs, works against the band here. The album sounds like a shamelessly poor home recording, with no effort made to polish the rough edges or offer any depth. While it’s commendable that music-making is accessible to everyone these days, “Confrere” shows that this doesn’t always result in memorable outcomes. The songs are dull, uninspired, and lack the spark that Poison Ruin never really had in the first place. If you’re curious after reading this review, be warned: keep a painkiller handy. Unfortunately, this album is a complete mess. (Anton Dupont) (1/10) (Relapse Records)
Q Da Fool – “King George”
“King George,” the latest album from Maryland rapper Q Da Fool, is unfortunately a letdown. Where his earlier work occasionally surprised with raw energy and sincerity, this album offers little new or inspiring. The production feels mediocre, often repeating what we’ve heard countless times in the rap landscape. The beats sound generic, and the flows feel forced, lacking the authenticity needed to truly captivate. One of the few bright spots on the album is “Pookie,” a collaboration with Veeze that shows some energy and creativity. Still, it’s not enough to save the rest of the album. Q Da Fool falls into copycat behavior here, without putting his spin on his music. In a time when there are strong releases, like Killer Mike’s new album, “King George” simply pales in comparison. Overall, this album is a disappointment for both old and new fans. Q Da Fool will need to do more to make his mark in an increasingly competitive scene. (Elodie Renard) (5/10) (Rich Shootas)
