Album review overview: Brittany Howard, Fat Joe 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.

Örnatorpet – Fordomdags

This album is not for everyone. In fact, the music on “Fordomdags” (loosely translated as “yesteryear”) is exclusively for fans of Dungeon Synth. The nine instrumental tracks, all bearing Scandinavian titles, are built on synthesizers and enriched with ambient and folk elements. Örnatorpet is a one-man project founded in 2018 in Borås, Sweden. The tracks on “Fordomdags” are described in the accompanying press kit as soundtracks for fantasy films or video games, inspired by Scandinavian folklore and nature. It was a challenge to listen to the entire album, which runs for over three-quarters of an hour. Ninety-nine per cent of listeners can skip this release. However, if you enjoy Dungeon Synth, “Fordomdags” is for you, and you can add five points to the final score. (Ad Keepers) (3/10) (Nordvis)

Fujii, Tamura, and López – Yama Kawa Umi

The trio of Satoko Fujii, Natsuki Tamura, and Ramón López proves with “Yama Kawa Umi” that their interplay has only deepened and grown richer. Recorded in Paris in 2023, this album showcases the unique chemistry between three musicians who complement each other perfectly. Fujii’s inventive piano playing, Tamura’s versatile trumpet tones, and López’s sensitive, melodic drumming create an engrossing journey through unexpected musical landscapes. From Tamura’s aggressive opening notes on “Headwaters,” the trio surprises with a powerful explosion of sound, followed by subdued passages that form a fascinating contrast. The title track is a highlight, with Fujii’s introspective piano solo seamlessly transitioning into a collective improvisation where every note falls into place. López shines in “Dusk Sky” with subtle, melodic drumming, while Tamura’s “Sparkling Water” offers a playful mix of abstraction and expressive melodies. The balance between individuality and collaboration is remarkable. Each member of the trio has room to shine without sacrificing cohesion. The compositions are fresh, daring, and occasionally moving, while the improvisations reflect deep mutual respect. “Yama Kawa Umi” is a must-list for fans of modern jazz and free improvisation. The album breathes innovation and embodies the pure essence of musical collaboration. (William Brown) (7/10) (Not Two Records)

Brittany Howard – Live From Austin City Limits

With “Live From Austin City Limits,” Brittany Howard, known as the lead singer of Alabama Shakes, wraps her voice around the listener like a golden lasso. From the opener “I Don’t,” it’s clear: that this is an artist who defies genre boundaries, blending them into a sound that is entirely her own. Free from her band, Howard’s solo work allows her voice to shine like never before. Soul, rock, pop, and blues flow seamlessly into a hypnotic whole, carried by the irresistible power of her vocals. Tracks like “Another Day” showcase Howard’s versatility and her ability to convey pure emotion. This live album captures the essence of Howard’s artistry: raw, honest, and full of passion. It invites the listener to journey through her musical universe, where personal stories and universal themes come together in a sound that feels both familiar and innovative. For soul music lovers, “Live From Austin City Limits” is a must-have—an album that touches you and doesn’t let go. With this record, Brittany Howard, the voice behind Alabama Shakes’ unmistakable sound, proves she is also one of the most intriguing and authentic solo artists of her generation. (Jan Vranken) (8/10) (UMG)

Kelsey Lu – Earth Mama (Original Soundtrack)

As a composer known for blending classical elements with electronic textures, Kelsey Lu seemed like the ideal choice for the soundtrack of the intimate coming-of-age drama “Earth Mama.” Unfortunately, this sonic translation of the story gets stuck in fragmentary sketches that never fully realize their potential. Where Lu’s earlier work—ranging from the minimalist “Church” to the richer “Blood”—demonstrated an ability to bridge diverse musical worlds, this soundtrack lacks the necessary coherence. The soundscapes and drones, while atmospheric, remain too superficial to resonate truly. Even in the expansive “Yours,” the buildup familiar from Lu’s more structured compositions is absent. It’s disappointing to see Lu’s talent for crafting immersive soundscapes fail to fruition here. Without the visual context of the film, listeners are left with a collection of unfinished musical ideas that, despite their ambient nature, fail to make an impact. It is a disappointing turn for an artist who has previously been enchanted with layered, meaningful compositions. (Anton Dupont) (4/10) (A24 Music)

Fat Joe – The World Changed On Me

For someone who likes to present himself as the first Latino superstar in rap, Fat Joe delivers a nearly comically weak album with “The World Changed On Me.” The opening track, featuring a childlike tune, sets the tone immediately—and not in a good way. It feels like stumbling into a kindergarten where someone has played the wrong tape. The production, which once formed the backbone of hits like “Lean Back” and “What’s Luv?,” now sounds as thin as a Weight Watchers meal. The collaborations—with a Dre unrelated to the legendary producer—are as uninspiring as an empty fridge. Tracks like “Mini Birki” and “Us” (complete with a misplaced Chris Rock sample) aim for street credibility but fall to the level of a rap karaoke night in an abandoned community centre. For a veteran who once dominated the charts with Terror Squad, this album is a painful reminder that not every old warrior can retain their glory. The world may have changed for Fat Joe, but perhaps he should have stuck to his earlier announcement to spend more time with his daughter. (Elodie Renard) (2/10) (RNG/Empire)