Album review overview: David Kushner, Cash Cobain 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.

David Kushner – The Dichotomy

David Kushner’s first studio album, “The Dichotomy,” released on August 30, marks a significant breakthrough in his budding career. The concept album is a dialogue between darkness and light, the central philosophical issue of the collection. Kushner approaches the subject in diverse ways in tracks like “No High” and the subsequent “Skin and Bones,” which tackle serious emotional issues related to human nature. Songs like “Love Is Going To Kill Us” and “Dead Man” showcase the range of love and its implications, while “Humankind” and “Universe” add a broader, almost cosmic dimension to the album. The final tracks, including the popular song “Daylight,” serve as the climax following the tensions of the preceding themes, ending the album on a more optimistic note. “The Dichotomy” is a carefully crafted collection of songs that connect musically and thematically. Kushner’s depictions of emotional distress and his sombre sound create a debut album that will surely leave a lasting impression. This debut album is certainly not bad. (Norman van den Wildenberg) (7/10) (Virgin Music Group)

Magdalena Bay – Imaginal Disk

Magdalena Bay’s second album, “Imaginal Disk,” is an ambitious and complex venture into modern pop music. The Los Angeles duo, consisting of Mica Tenenbaum and Matthew Lewin, creates a concept album that combines surreal sci-fi stories with layered productions. The result is a sonically rich experience, full of lush synths, powerful percussion, and a plethora of experimental details reminiscent of the grandeur of ’90s pop hits, but with a twist that perfectly fits the uncertain reality of today. Tracks like “Death & Romance” demonstrate the band’s mastery of creating catchy anthems while upending traditional pop structures. However, not all experiments hit the mark—some tracks, like “Vampire in the Corner” and “Love Is Everywhere,” feel more like conceptual sketches than fully developed ideas. Despite these minor missteps, “Imaginal Disk” succeeds in being both an ode to and a critical reflection on pop music, firmly placing Magdalena Bay in the alternative scene. A bold effort, and a well-deserved 7 out of 10. (Jan Vranken) (7/10) (Mon & Pop)

Cash Cobain – PLAY CASH COBAIN

Cash Cobain’s latest album “PLAY CASH COBAIN” transports us to the summery world of “sexy drill,” but despite the vibes, the result feels somewhat played out. The New York rapper-producer, known for his breezy hi-hats and sultry beats, doubles down on city-specific sexcapades but doesn’t always manage to convince. The 19 tracks are peppered with playful, sometimes laughable lyrics about sexual escapades, such as “She got a nickname for my dick, it’s Ed, ’cause it’s Hardy.” While Cash’s self-produced beats are often stronger than his lyrics, the album sometimes lacks the freshness of his earlier work. Tracks like “Dunk Contest” and “Rump Punch” keep the energy high, but other songs, such as the dancehall-inspired “Luv It,” feel generic. Cash tries to broaden his sound, but this doesn’t always have the desired impact. Despite his status as one of the hottest names in New York rap, “PLAY CASH COBAIN” falls into repetition. The result? An album that doesn’t quite manage to shine, with a final score of 6 out of 10. (Elodie Renard) (6/10) (Gian Music)

Delicate Steve – Delicate Steve Sings

Delicate Steve’s latest album, “Delicate Steve Sings,” unfortunately leaves little impression and feels more like background music than a real vibe. Steve Marion, known for his unique guitar playing and eccentric instrumentals, seems to have lost some of his creativity on this album. Despite the title, you don’t actually hear Steve sing, which is already a sign of what’s to come: a collection of dull lounge covers and original tracks that fail to captivate. The covers on the album include recent songs like Otis Redding’s “These Arms of Mine” and Donnie and Joe Emerson’s “Baby.” While they are technically well-executed, they lack soul and feel more like karaoke versions than fresh new interpretations. Even the Beatles cover “Yesterday” sounds like it came straight out of hotel lobby speakers. The original tracks attempt to set the same vintage R&B vibe but simply don’t hit the right notes. “Cherry” tries to strike a chord but remains superficial. Only “I’ll Be There” manages to break through the grey clouds, with its relaxed bongos and building strings that briefly remind you of Steve’s earlier work. “Delicate Steve Sings” feels more like elevator music than an album that truly grabs you. (Anton DuPont) (5/10) (Anti-)

J.U.S./ Squadda B – 3rd Shift

Detroit and the Bay Area are two indispensable centres of rap culture that have been connected for years. Some say this bond was formed during the Great Migration when auto factories moved from Detroit to Oakland. Others believe the connection was built through generations of hustlers. Whatever the origin, the musical exchange between these cities is undeniable, and this is evident in the joint album “3rd Shift” by Detroit’s J.U.S and Oakland’s Squadda B. On “3rd Shift,” it feels like J.U.S and Squadda B are on the same wavelength. J.U.S, a veteran of Danny Brown’s Bruiser Brigade, brings sharp and autobiographical rhymes, while Squadda, known from the duo Main Attrakionz, provides the production with raw and quirky beats. The result is an energetic and humorous album that highlights the stress and challenges of daily life in Detroit. J.U.S’ lyrics are filled with vivid descriptions of life as a Detroit hustler, complete with recognizable symbols like Air Force Ones and Cartier glasses. Although his raps remain straightforward, Squadda’s unpredictable production ensures he never gets too comfortable. With “3rd Shift,” J.U.S and Squadda show that the natural chemistry between Detroit and Oakland is still alive. This album feels like an organic fusion, where both artists enhance each other’s strengths. A delightful rap album. (Jan Vranken) (8/10) (Bruiser Brigade)