Album review overview: Tom Misch, Olive 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.

Crippled Black Phoenix – The Wolf Changes Its Fur But Not Its Nature

The (gothic) rock band Crippled Black Phoenix celebrates their 20th anniversary with “The Wolf Changes Its Fur But Not Its Nature.” CD 1 features tracks previously released by the band. The quirky “Forgotten Who We Are” is the first track. The mood in “You Put The Devil In Me” is completely different. This variation exists both between the songs and within them. Crippled Black Phoenix has a unique, raw, and distinctive style, both instrumentally and vocally. Most of the tracks are sung by Justin Storms and/or Belinda Kordic. The lyrics are not always easy to decipher, but they leave an impact in combination with the music, sound effects, and sampling. This is especially true for “Goodnight, Europe.” The calm, instrumental “(-)” is as peculiar as its title, yet it remains captivating. This is followed brilliantly by the epic “Song For The Unloved,” a duet between Ryan Patterson and Belinda. These eight tracks offer a fantastic overview of the highly varied songs they have released. CD 2 consists of covers that are naturally in their own unique style. It may take some getting used to, but it’s undoubtedly surprising. The physical album is sold out, which is no surprise—it’s excellent! (Esther Kessel-Tamerus) (9/10) (Season of Mist)

Yannis & the Yaw, Tony Allen – Lagos Paris London

A disappointing collaboration that does not fully honour Tony Allen’s legacy. As a master drummer and architect of Afrobeat, Allen’s involvement in a new project always generates high expectations. Unfortunately, this five-track EP does not collectively exceed thirty minutes and fails to deliver what one might hope for. The traditional Afrobeat elements are present in Allen’s characteristic drumming but are overshadowed by flat synthesizer arrangements limited to simple three-chord progressions. This detracts from the rich texture that usually defines the genre. The track “Night Green, Heavy Love” highlights the album’s main shortcoming—a tempo that is too slow, undermining the essential groove that Afrobeat relies on. The magical energy and spiritual depth that make the genre so special seem absent here. Although Allen’s drumming remains of high quality, the overall result lacks the complexity and vibrancy that characterize Afrobeat. The result is a stripped-down version of the genre that does not do justice to its rich tradition. (Jan Vranken) (6/10) (Transgressive)

Tom Misch – Six Songs

In the final days of 2024, Tom Misch presents us with “Six Songs,” an EP that feels more like a loose collection of creative ideas than a carefully curated manifesto. Yet, within this informal framework, Misch manages to create moments of genuine charm with his characteristic blend of neo-soul warmth and refined production. The opening track, “Insecure,” pulses with a modest confidence that contradicts its title, the rhythm filtering in like sunlight through blinds. There’s an undeniable affinity with Jack Johnson’s relaxed groove, though Misch’s production sophistication—sharpened by years of beat-making and J Dilla admiration—adds extra layers of finesse to the seemingly simple arrangements. Throughout the EP, Misch demonstrates his evolution from bedroom producer to Blue Note artist for a brief period, without straying far from the soulful accessibility that defined his early work like “Beat Tape 1.” The collection serves as an interesting counterpoint to his recent electronic explorations as Supershy, trading digital experiments for organic, pop-oriented arrangements that feel like familiar conversations between old friends. While “Six Songs” doesn’t push artistic boundaries like his collaboration with Yussef Dayes, it captures something equally valuable: the pure joy of a talented musician in his element. Like an experienced chef preparing a light amuse-bouche instead of a full-course meal, Misch reminds us that sometimes the most satisfying musical moments come from their apparent effortlessness. This EP indeed feels like a musical appetizer: tasteful, light, and with enough finesse to pique curiosity for the main course. At a time when many artists close the year with hastily released compilations, Misch stands out with his relaxed elegance and craftsmanship, however modest the portion may be. (Jan Vranken) (7/10) (Awal Recordings)

Visions of Atlantis – Live over Europe, Part 1

Amid waves of bombast and theatrical sailor tales, “Armada – Live Over Europe Part 1” by Visions of Atlantis drifts as a curious journey through Europe’s concert halls that offers more polish than depth. The Austrian-French-Italian formation, led vocally by Clémentine Delauney and Michele Guaitoli, delivers a live experience so polished that the raw charm of a real concert is almost lost. In the recordings, including a memorable moment in Haarlem, unfold a theatrical spectacle that balances between symphonic metal and maritime variety. The band, dressed in pirate costumes, creates a soundscape reminiscent of an adult version of children’s theatre—technically proficient but often predictable in its execution. The production, even for a live album, is strikingly stylized and almost clinically perfect. Where authentic live energy should shine, we hear a tightly choreographed performance that resembles a Broadway musical more than a metal concert. It’s craftsmanship, no doubt, but the spontaneity that makes progressive rock so captivating remains anchored in the harbour. For fans of the genre, this journey undoubtedly offers moments of rapture, but the overproduction and predictability make this more of a simulated sea voyage than a true adventure on turbulent musical waters. (Jan Vranken) (5/10) (Napalm Records)

Olive – Brianna Fout

In today’s electronic music landscape, where the line between human and machine is increasingly blurred, Olive presents us with “Brianna Fout,” an album that raises more questions than it answers. This collection of 14 tracks comes in a suspiciously rapid burst of creativity—one of three albums released in a single month. For a group once known for their meticulous production process, this raises eyebrows. While their 1996 work shimmered with organic textures and Ruth-Ann Boyle’s distinctive vocals, “Brianna Fout” offers voices that sound unnaturally processed, stripped of the human imperfections that once gave Olive’s music its soul. The production, though technically adept, bears the unmistakable hallmarks of AI generation—too perfect, with arrangements that feel more algorithmic than emotional. This is particularly troubling for producers Tim Kellett and Robin Taylor-Firth, whose work with Simply Red and Nightmares on Wax demonstrated a deep understanding of organic sound design. When you compare these vocals with the iconic recordings of the 1990s, a disconnection becomes evident that is hard to ignore. Where Boyle’s original performances carried the weight of lived experience, these new tracks hover in an uncanny valley of perfect imperfection, suggesting heavy AI intervention, if not full generation. If this is indeed a human production, it represents a worrying surrender to AI aesthetics—a choice that undermines the essence of what made Olive’s early work so compelling. In either case, “Brianna Fout” stands as a cautionary tale about the intersection of artificial intelligence and artistic integrity in contemporary electronic music. At best, it’s a marginal pass, a shadow of what Olive once was. The speed of production and clinical perfection suggest a creative process that relies more on algorithms than artistic vision. For fans of Olive’s original sound, this is a disappointing turn in their musical journey. (Jan Vranken) (4/10) (Captain Music Group)