Album review overview: Garfunkel & Garfunkel, Vola 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.

Kaos Moon – The Goldfish

The Canadian prog rock band Kaos Moon was founded by singer and multi-instrumentalist Bernard Ouellette. After twenty years, there is a new album: “The Goldfish.” Several guest musicians participated, including Jean-François Bélanger on sitar and nyckelharpa. The latter instrument produces a sound reminiscent of a violin, bringing a folk quality. The album opens with a delightful prog feel. Further along, the blend of various instruments becomes unique. In other songs, such as “Logger’s Tale,” “Noisy Shoes,” and the title track, this becomes even more evident. Bernard’s voice has a fairly high range and a clear pronunciation, and his slightly gritty tone pairs well with Eric Bonette’s. The music is rich in detail, which is nicely highlighted by the sound quality. Most intros are intriguing, but a few outros, especially those with a fade-out, are a bit disappointing. The tracks are well-composed and well-played, including the use of pauses. The keyboard and guitar sounds are very diverse, and the rhythm sections play a key role. The blends and changes of all the instruments and rhythmic shifts make this album special. (Esther Kessel-Tamerus) (7/10) (Unicorndigital)

Garfunkel & Garfunkel – Father & Son

If there’s one thing worse than a mediocre Garfunkel, it’s two of them. In “Father & Son,” Art and his son James prove that musical traumas can be genetically transmitted. This monument of misplaced nostalgia and excessive sentimentality is like a Christmas pudding left in the sun for three months. While Art Garfunkel once lived in Paul Simon’s vocal shadow, he has now created his own – one that drifts through life as colourlessly and soullessly as he does. Together, they take twelve classics hostage in what can only be described as a strong case for musical birth control. Their rendition of Don McLean’s “Vincent” sounds as if the stars not only shine at night but have collectively decided to end it all. The arrangement of “Blackbird” gives the impression that father and son attempted to sing along to the original while lost in a helium factory. But the absolute low point – and believe me, the competition was fierce – is their interpretation of “Here Comes The Rain Again.” Where Annie Lennox once brought power and mystery, the Garfunkels deliver a performance that sounds like two lost sheep trying to stage an opera. This album isn’t so much a father-son project as a joint hijacking of pop music. It’s an accomplishment to strip so many iconic songs consistently of any charm or meaning. If this is their holiday gift, humanity deserves better. For best results: use them as coasters for hot pans, or as an alternative to mouse traps. (Jan Vranken) (1/10) (Telamo Musik & Unterhaltung GMBH)

Vola – Friend Of A Phantom

“Friend Of A Phantom” is the fourth album by this Danish-Swedish quartet. Vola keeps to its tradition of releasing new work every three years. “Friend Of A Phantom” sounds different yet familiar. There’s a heavier use of harsh vocals, both from singer Asger Mygind and guest vocalist Anders Fridén (In Flames) on the opener and first single from the album, “Cannibal.” This track and “Hollow Kid,” a blend of Tool, Metallica’s “Enter Sandman,” and Meshuggah, are the highlights of this excellent album. The production and artwork are also well done. Vola is a master at blending progressive metal, electronics, and hints of trip-hop and djent. They avoid solos and lengthy instrumental breaks, focusing instead on rhythmic solidity and layered, often electronic-based music. This results in nine songs that clock in at around 40 minutes, which is relatively short for progressive metal. The short runtime is the only criticism. With their fourth album, “Friend Of A Phantom,” Vola has once again created an album that will satisfy every prog metal fan. Hopefully, Vola will continue to develop musically and avoid the trap of sticking to its current successful formula. But given their four releases so far, I have high hopes that my concern is unfounded. (Ad Keepers) (8/10) (Mascot Records)

Massive Wagons – Earth To Grace

This British band was formed in 2009 after singer Barry Mills and guitarist Adam Thistlethwaite saw Airbourne perform live. They decided to leave their indie cover band behind and focus on writing original material. Now, their seventh studio album, “Earth To Grace,” has arrived. The band plays catchy hard rock with a touch of punk. They are doing well in their home country, and this album has already reached number one on the iTunes rock charts. Now, the band is working to conquer the rest of Europe. Mills’ distinctive higher voice ensures instant recognition with new songs. Tracks like “Fun While It Lasted” are catchy sing-alongs that work well at festivals. However, the album sees less emphasis on punk influences, particularly in the riffs, except for the closer, “Rabbit Hole.” The opener, “Sleep Forever,” has a bit of Sweet’s “Set Me Free” feel, especially in the guitar solo. With this album, Massive Wagons showcases a slightly different sound while maintaining their recognizable style. (Rik Moors) (7/10) (Earache Records)

Nathan Evans – 1994

Nathan Evans, the Scottish postman who became world-famous in 2020 with his authentic shanty covers on social media, has taken a noticeable musical turn with his new album “1994”—unfortunately, not for the better. Where Evans once impressed with his pure, unpolished renditions of traditional sea shanties like “Wellerman,” he now opts for an overproduced sound that resembles mainstream pop music à la Taylor Swift more than his folk roots. The production is so heavily digitalized that Evans’ characteristic voice is barely recognizable after layers of electronic treatment. Take, for example, the opening track “Bonfire.” What could have been an organic, warm song now sounds like a mechanical exercise in modern production techniques. The track stops as abruptly as it begins, lacking any natural dynamics. “Flowers in the Water” suffers from the same issue: a potentially beautiful song sacrificed on the altar of TikTok-friendly production, complete with forced tempo changes and artificial beats. The main problem with “1994” is that it trades authenticity for commercial calculation. Every aspect seems carefully crafted to align with contemporary pop trends, but the soul of the music is lost in the process. The Scottish folk tradition that Evans originated from is now a distant memory. For his next project, Evans would do well to return to his roots and leave the overproduction behind. His talent shines best when it isn’t smothered by layers of electronic effects. (Jan Vranken) (4/10) (Universal Music)