Album review overview: Wizrd, Iggy Pop 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.
Wizrd – Elements
In rock and metal, Norway is mainly known for black metal. However, it has also given us some excellent prog-rock bands. Wobbler and Magic Pie are notable examples. The relatively new band Wizrd is a fresh name in the scene. Two years ago, they released their debut album, which was well-received. Now, with “Elements,” they add a second album to their discography. The band was formed at the Jazz Conservatory in Trondheim, which is evident in their music. Their sound blends prog with jazz and even a touch of indie. They haven’t ventured into so-called ‘epics’ yet, keeping their songs under seven minutes. The album is wonderfully diverse. It moves from the short, fast instrumental “!!!” to the dreamy “Fire & Flames,” which effortlessly shifts midway. There’s something here for anyone who appreciates prog. (Rik Moors) (8/10) (Karisma Records)
Palle Mikkelborg, Lars Møller & NDR Big Band – Echoes
On “Echoes,” two generations of Danish jazz innovators engage in a fascinating dialogue. Palle Mikkelborg’s contemplative flugelhorn achieves a natural balance with Lars Møller’s refined compositions, while the NDR Big Band brings their shared vision to life with German precision and Scandinavian warmth. The opening piece, “Salt,” unfolds over fifteen minutes like a rising tide, with the characteristic Nordic clarity shining through in every arrangement. Møller constructs his compositions like an architect, leaving room for intimate chamber music passages alongside grand orchestral moments. A Danish folk song arrangement serves as an emotional anchor, connecting modern complexity with something primal. This Dacapo release excels in balancing composition and improvisation. Mikkelborg’s horn floats like winter sunlight above the ensemble, with his sparse phrasing and lyrical sensitivity seamlessly merging with Møller’s layered soundscapes. This album reveals new nuances with every listen, underscoring the brilliance of contemporary Scandinavian jazz. (Jan Vranken) (8/10) (Dacapo)
Mark Butcher – Always Somewhere
The first time I met and heard Mark Butcher perform was during an interview and concert with The Boom Band on November 27, 2015, at De Boerderij in Zoetermeer, The Netherlands. Even then, Mark’s strong, soulful voice and melodic guitar playing stood out. At the time, he was developing a serious music career after years as an international top cricketer for England. Since retiring in 2009, he has worked as a sports commentator and, of course, as a musician, which brings us to this review. Alongside his work with The Boom Band, he previously released two well-received solo albums: “Song From The Sun House” and “Now Playing.” Recently, his third album, “Always Somewhere,” featuring twelve tracks, was released through Cherry Red Records. Of these, ten were written by Butcher himself, one in collaboration with Pete Twyman, and one by Twyman alone. Twyman also contributed as a guitarist, bassist, percussionist, keyboardist, and producer. Steve Barnard, aka Smiley, played drums, and a dozen others, including former Boom Band mates Jon Amor and Marcus Bonfanti, also participated. Listening to the songs, it’s clear that Butcher is not just a ‘celebrity’ who happens to sing well. As a composer and lyricist, he’s top-tier. Pay attention to the lyrics—they truly have substance. Musically, he sits somewhere between blues and soul, unafraid of ventures into rock and pop. From the opening track, “Always Sing,” to the closer, “Good Intentions,” he holds the listener’s attention throughout. Standout tracks include the funky “Cold Eyes, Cold Heart,” with a beautiful trumpet solo by Nick Etwell, the impressive “Open Heart,” and the rocking blues number “Indefinable Man.” With “Always Somewhere,” Mark Butcher has proven himself a talented composer and musician who deserves more recognition. (Eric Campfens) (8/10) (Cherry Red Records)
Iggy Pop – Live at Montreux Jazz Festival 2023
At 75, Iggy Pop proves during his Montreux performance that rock ‘n’ roll has no expiration date. This live recording brims with an energy that would put many twenty-somethings to shame. The addition of a brass section to his regular band adds new depth to his timeless repertoire. The opener, “Five Foot One,” bursts from the speakers with primal force, Pop’s voice still a raw diamond refusing to wear down. Over seventeen tracks, the stage transforms into an altar of pure rock energy. The fiery reinvention of “Lust for Life,” where the brass section lends a near-soulful intensity to the classic, stands out as a highlight. The show concludes with “Frenzy,” a track that unabashedly nods to Pop’s musical heritage while sounding like a manifesto for his enduring relevance. This concert is more than a historical document—it’s a celebration of untamed vitality, proving that rock ‘n’ roll at its best is about attitude, not age. Iggy Pop remains the living embodiment of this truth. (Anton Dupont) (7/10) (Earmusic)
Central Cee – Can’t Rush Greatness
With “Can’t Rush Greatness,” Central Cee delivers an album that explores the growing pains of West London drill—a work oscillating between ambition and execution, authenticity and commercial aspirations. While South East London buzzes with innovative energy from artists like Little Simz and Pa Salieu, Cee struggles to carve out his voice in the crowded UK rap scene. The production is technically sound, with beats that are well-crafted but rarely venture into truly exciting territory. “Gata,” his collaboration with Young Mike, attempts to fuse Latin influences with Shepherd’s Bush aesthetics, but the result feels forced—a crossover effort that misses its mark. The album doesn’t lack technical skill—Cee’s flows are competent—but it falls short of capturing the raw energy and urgency that make UK drill so electrifying. Where the best productions in the genre pulsate with vitality, “Can’t Rush Greatness” often settles into predictability. The title proves unintentionally prophetic—greatness indeed remains just out of reach. (Elodie Renard) (6/10) (Columbia Records)
