Album review overview: Razorlight, Wendy James 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.
Andrea Bocelli – 30 Years of Duets
On this impressive double album, Italian tenor Andrea Bocelli celebrates his thirty-year career with a collection of his most memorable duets, supplemented by five new recordings. The compilation showcases Bocelli’s versatility and unique ability to transcend the boundaries between classical and pop music. The album opens with the iconic “Time To Say Goodbye” featuring Sarah Brightman, still a perfect example of a duet. Among the new tracks, the surprising 2024 version of “Vivo Por Ella” with KAROL G stands out, giving a fresh Latin-pop twist to the classic. Bocelli also dares to sing the iconic “La Vie en Rose” alongside Edith Piaf. Collaborations with Dua Lipa, Christina Aguilera, and Ariana Grande further demonstrate Bocelli’s courage to explore new musical paths with contemporary artists. Highlights abound in the emotional “The Prayer” with Céline Dion, the refined “Perfect Symphony” with Ed Sheeran, and the delightful jazzy “Canzoni stonate” featuring Stevie Wonder on harmonica. The family moments with son Matteo and daughter Virginia Bocelli add a personal touch to the album. The production is strong, perfectly balancing the various voices and orchestral arrangements. The only downside might be the length—32 tracks can feel overwhelming for one listening session, as Andrea Bocelli doesn’t have that many hits. (Norman van den Wildenberg) (7/10) (Universal)
Razorlight – Planet Nowhere
After fifteen years, the classic lineup of Razorlight returns with Planet Nowhere. Led by charismatic frontman Johnny Borrell, the band and producer Youth have created a collection of songs that sound both familiar and refreshing. The first single, “Scared of Nothing,” immediately sets the tone. The track features that signature Razorlight energy: tight post-punk guitars, pulsing bass, and Borrell’s distinctive vocals. Songs like “Zombie Love” and the provocative “Taylor Swift = US Soft Propaganda” show that the band remains relevant. The album balances raw energy with refined songwriting, although the production unfortunately feels rather bare. Youth’s production is clear and direct, which seems to hinder the chemistry between the band members. The return of guitarist Björn Ågren and drummer Andy Burrows brings an authentic sound that will please fans of the British indie-rockers. Planet Nowhere is not a nostalgic look back but a statement from a band with something to say. However, it feels more like a fan album, in my opinion. (Anton Dupont) (6/10)
Wendy James – The Shape Of History
Former Transvision Vamp frontwoman Wendy James is back with her tenth album, The Shape Of History. An album that perfectly summarizes her musical journey from punk to electronic experiments. The record, recorded in London and New York, exudes the atmosphere of the late ’70s CBGB scene, blended with dark electronic influences. The opening track “Sweet Like Love” and “A Happy Life” sound somewhat sweet, while “Freedomsville” (almost six minutes long) showcases how James uses traditional instrumentation to achieve an almost electronic effect—without actually using sequencers. Highlights include the hypnotic “Everything Is Magic” and the confrontational “The Crack And The Boom Of The Creeps And The Goons.” The production, handled by James herself, is strong. The collaboration with her regular musicians Alex Ward and James Sclavunos creates a natural chemistry felt throughout the record. The Shape Of History is not a nostalgic look back but combines the present with the past. James’ voice sounds clearer than ever, delivering lyrics that leave the listener questioning between wisdom and rebellious energy. An impressive album. (William Brown) (8/10) (Wendy James)
Thomas Grimmonprez Trio – Indigo
Renowned French jazz drummer Thomas Grimmonprez, known for his work with masters like Kenny Wheeler and Michel Legrand, presents Indigo, his third album as a bandleader. Together with Victor Foulon on double bass and Wadji Riahi on piano, he explores the colour palette of indigo—both literally and figuratively—in eleven compositions. Grimmonprez, who has earned his stripes with prestigious ensembles like the Brussels Jazz Orchestra and Hamburg NDR, surprisingly takes a restrained approach on this album. Where one might expect more percussive bravado from a drummer leading a band, he opts for a controlled approach that puts Riahi’s melodic lines in the spotlight. The technical mastery of the trio is unquestionable—one would expect nothing less from a musician trained at renowned conservatories like Lille and Paris. However, the album lacks the adventurous spirit that can make contemporary jazz so exciting. The compositions are skillfully executed but often remain on the safe side, with the musicians rarely stepping outside the established paths. Indigo is particularly suited for contemplative listening sessions late at night, accompanied by a good glass of wine. It’s polished, accessible jazz that could have used a bit more daring and experimentation to truly captivate. The conservative approach means the album, despite its undeniable craftsmanship, does not go beyond a respectable six out of ten. (Jan Vranken) (6/10) (Thomas Grimmonprez)
LP Giobbi – Dotr
DJ LP Giobbi delivers Dotr, an album that perfectly unites her jazz roots and electronic expertise. The title, a nod to how she used to sign her notes to her parents as a child (misspelling “daughter”), reflects the personal nature of this project. The album pays tribute to important women in her life, with real voicemails and conversations subtly woven into the productions. The collaborations are particularly strong, with the standout track “Until There’s Nothing Left” featuring Brittany Howard from Alabama Shakes. The organic vocals seamlessly blend with Giobbi’s electronic landscapes. “Bittersweet” featuring Portugal. The Man also stands out with its catchy, Chic-inspired funk beats. From the cinematic “Is This Love” to the introspective “Carolyn,” Giobbi showcases her versatility as a producer. Although the album is rooted in personal loss, an overwhelming sense of joy prevails. It concludes with a first: Giobbi’s own vocals, providing an intimate ending to this dancefloor-meets-personal journey. A richly produced album that perfectly mixes dancefloor energy with emotional depth. Delightful. (Elodie Renard) (8/10) (Counter Records)
