Album review overview: Joy Oladokun, Vision Video 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.
Vision Video – Modern Horror
Vision Video’s third album “Modern Horror” is an unflinching dive into the dark reality of our time. The post-punk band from Athens, Georgia delivers a powerful statement with these 11 tracks. The opening track “Modern Horror” immediately sets the tone with sharp guitars and Dusty Gannon’s intense vocals. “Dead Gods” follows with a hypnotic bassline and Emily Fredock’s haunting synths, enhancing the apocalyptic atmosphere. “Sign of the Times” isn’t a cover of His Royal Badness but reminds more of U2 in their Boy and October days, and that’s certainly no insult! The song reflects Gannon’s experiences as an Afghanistan veteran, with urgent lyrics and Ryan Houchens’ aggressive drumming. “Normalized” recalls The Cure and is more laid-back than the rest, with a critical look at social indifference. Produced by Grammy winner Ben Allen and mastered at Abbey Road Studios, “Modern Horror” sounds grand and polished, without losing its raw edge. With this album, Vision Video delivers an urgent, gripping work that elevates post-punk to new heights. It takes you back to the ’80s, and that’s wonderful! (Anton Dupont) (8/10) (Independent release)
Dotan – A Little Light in the Dark
Ten years after his breakthrough with “7 Layers” and mega-hit “Home”, following a period of disgrace, Dotan returns three years after “Satellites”. With his fourth studio album “A Little Light in the Dark”, Dotan shows a surprising and refreshing musical development. The previously released singles “Diamonds in My Chest” and “Louder” already gave a glimpse of the musical direction, but the full album exceeds all expectations. Dotan’s signature melancholic voice shines beautifully in the folk- and roots-influenced arrangements. Highlights on “A Little Light in the Dark” include the heartfelt “No Kissing on a Sunday”, which tells a touching story of acceptance, and the captivating single “Drown Me in Your River”. The songs reflect Dotan’s growth as a songwriter and his ability to translate universal themes into personal, deeply moving songs. The production, entirely handled by Dotan himself, is clear and balanced, giving each song space to breathe. “A Little Light in the Dark” marks a return that reaffirms Dotan’s place in the Dutch scene. Yes, a mistake was made, but let bygones be bygones; Dotan is back. (Norman van den Wildenberg) (7/10) (8Ball Music)
Dilemma – The Purpose Paradox
With “The Purpose Paradox”, Dutch progressive rock band Dilemma raises the bar even higher than on their previous album “Random Acts of Liberation”. This ambitious double album, consisting of both vocal and instrumental versions of the same tracks, is a true tour de force in the genre. The production, handled by Rich Mouser and drummer Colin Leijenaar, is world-class. Opening track “Sanctuary” demonstrates this perfectly with a crystal-clear mix where every instrument and voice has room to breathe without losing any power. The compositions, partly co-written by former singer Dec Burke, are thoughtful and captivating. New frontman Wudstik is a golden find. Far removed from his earlier days opening for De La Soul, he impresses with a powerful voice that unites both strength and soul. It’s a refreshing addition to the already impressive sound of the band. “The Purpose Paradox” confirms Dilemma’s status as the best progressive rock band in the Benelux. The combination of refined production, sophisticated compositions, and vocal excellence makes this album a milestone in the genre. An internationally significant release that firmly puts Dutch prog-rock on the map. (Jan Vranken) (9/10) (Dilemma & Butler Records)
Joy Oladokun – Observations from a Crowded Room
With “Observations from a Crowded Room”, Joy Oladokun delivers a masterfully contemplative album, perfect for late-night hours. The opening track “Letter from a Blackbird” is best experienced with closed eyes, allowing yourself to fully immerse in Oladokun’s crystal-clear voice that shines like a beacon through the night. The album is a perfectly balanced mix of subdued folk, subtle R&B influences, and refined pop arrangements. The production is warm and intimate, giving each instrument just the right amount of space. “Am I” unfolds with each listen into an increasingly richer experience, a quality that defines the entire album. Oladokun creates a sonic world that offers comfort and perspective in these turbulent times. The melodies are both accessible and complex, with beats that are never intrusive but take you on a musical journey, helping you momentarily forget that reality is sometimes less beautiful than the world she paints. This is an album that slowly creeps under your skin and stays there. A strong 8/10, narrowly missing a 9. (Elodie Renard) (8/10) (Amigo Records)
Sofía Valdés – Sofía Valdés
Despite a promising debut that garnered streams and praise worldwide, the second album by Panamanian singer-songwriter Sofía Valdés disappoints. Where her EP “Ventura” impressed with its intimacy and cultural richness, her new work gets stuck in mediocrity. The production detracts from Valdés’ natural talent. While her musical roots—ranging from Beatles influences to bossa nova and Latin sounds—are still present, they are overshadowed by messy production and excessive use of effects. The track “Midnight Freak-Out” perfectly illustrates what’s wrong: too much reverb and unnecessary production tricks suffocate the authenticity that made her debut so charming. For someone who grew up in Panama and found musical inspiration in various genres, from Motown to Cuban music, this is a missed opportunity. The hope that she would grow into a new star in the singer-songwriter scene, comparable to Caroline Polachek, proves premature. What remains is a disappointing album that fails to live up to the promise of her talent. (Jan Vranken) (4/10) (Warner Records)
