Album review overview: Jasen Weaver, Kaiser 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.

Kaiser – 2nd Sound

The Finnish band Kaiser was formed during a jam session between drummer RiQ and guitarist/vocalist Otu. According to the two, it went so well that they wanted to do more with it. This has resulted in the band Kaiser who recently released their second album, “2nd Sound”. With a debut called “1st Sound”, we can already guess what a third album would be called. Anyway, it’s all about the music. We’re dealing with a hefty portion of stoner rock here. Otu throws in thick riffs again and his solo work suits him well too. His quality on the strings takes this album to a higher level. “Meteorhead” is an excellent example of this. Lots of room for instrumental violence. The closing and longest track of the album “Aftershock” is reminiscent of Black Sabbath in terms of riffs. Especially the middle section of the song consists of pure doom riffs, after which the song becomes more intense with drums, bass and guitar solos. Lovers of fuzz and stoner can safely put on this album. (Rik Moors) (8/10) (Majestic Mountain Records)

Jasen Weaver – The Move

How does homesickness sound? In 2019, bassist Jasen Weaver exchanged New Orleans for Europe, a step with great impact in which he had to learn to embrace a new culture. At the same time, Weaver always longed for The Big Easy, the cradle of modern jazz, where the languid daytime life seamlessly transitions into the nightly bop around Pauger Street. Still, Weaver left his native soil to become a better bassist in Brussels, with the caveat that Weaver was already no stranger. He played with, among others, the Black Art Jazz Collective and Dee Dee Bridgewater. This experience made Weaver one of the more versatile bassists in the genre and therefore it was time for solo work. “The Move” is his first solo EP and with five tracks it’s too short. Far too short, because this all sounds excellent, partly due to a selection of guest musicians, all from New Orleans. The journey begins in the upbeat “Pauger Street Parade” which mainly offers a platform for the brass section – Steve Lands on trumpet, Rex Gregory on alto and soprano saxophone and Derek Douget on tenor saxophone – who alternately interpret the atmosphere of The City of Yes. After this unbridled festivity, however, inevitably follows the homesickness that leads to the all-encompassing final question “Do You Know What It Means To Miss New Orleans?”, a melancholic piece for only trumpet and of course the double bass. Homesickness can be very beautiful. (Jeroen Mulder) (8/10) (Self-released)

Tyler Traps – Play This At Night

With his new EP “Play This at Night,” American rapper Tyler Traps returns after a hiatus since his 2019 release “Sentimientos.” This five-track EP marks his comeback and showcases how his style has evolved during his absence. Opening track “COLLIDE” immediately sets the tone with a mysterious atmosphere, while “USED TO BE” delves deeper into past relationships with a melancholic undertone. On “DECEMBER,” he processes the loss of friends in a deeply personal narrative that gets under your skin. In my opinion, the highlight is “SONDER,” where Tyler’s ability to seamlessly blend different genres fully comes to fruition. The EP concludes with “ENEMY,” a critical look at the challenges of social media and authenticity. After his silence, Tyler Traps proves with “Play This at Night” and various recent singles that he’s coming back stronger than ever. Now that he’s successfully transforming personal struggles into captivating hip-hop, it’s clear that this EP is just the beginning of a new phase that will certainly boost his career. (Norman van den Wildenberg) (7/10) (Dark Castle Records)

Sasami – Blood On The Silver Screen

With her third album “Blood On The Silver Screen”, SASAMI proves that she’s a musical chameleon who moves just as easily in pop as in her earlier shoegaze and metal experiments. After the violent “Squeeze” from 2022, Ashworth now opts for a more accessible direction, without losing her identity. Together with producers Jenn Decilveo and Rostam, she has made a record that both embraces and subverts pop conventions. The production is glossy and polished, but beneath that layer lurks Ashworth’s characteristic sharpness. She explores themes such as sex, power and physicality in a way that remains commercially digestible but never becomes superficial. As a multi-instrumentalist, she proves her craftsmanship by bringing together diverse sound colours in a coherent whole. The singles, including the contrasting “Honeycrash”, show how she effortlessly switches between heavier elements and pop melodies. “Blood On The Silver Screen” is an adequate pop album that scores a solid pass, but it’s precisely in the small subversive details where SASAMI’s rebellion against the pop formula becomes visible. A commendable evolution of an artist who consistently refuses to be pinned down to one genre. (Jan Vranken) (7/10) (Domino Recording)

TobyMac – Heaven On My Mind

In contemporary pop music, TobyMac’s latest creation “Heaven On My Mind” forms an oasis where spirituality and catchy rhythms converge in a crystal-clear sound world. While we generally pay little attention to releases from the Christian pop corner, this tenth album by the Grammy winner forces us to reconsider our own bias. The evangelical messages in McKeehan’s lyrics resonate with the same joy of life we know from Michael Franti & Spearhead – positive mantras wrapped in musical embraces that effortlessly transcend genre boundaries. Without prior knowledge, you might miss the spiritual undertone, so organically woven are the messages into the music. “Lord It Feels Good” unfolds as a first-class summer hit, bathing in sunlight and carried by a production in which brass and bass lay a dark, rich foundation on which the other elements can dance. The track breathes the same irresistible positive energy that characterizes Franti’s best work but with McKeehan’s authentic signature. On the somewhat heavier rap-oriented moments such as “Can’t Stop Me”, the atmosphere shifts, but the overarching coherence remains intact. Where many cross-over artists stumble in their attempt to embrace different styles, TobyMac navigates effortlessly between urban beats, pop melodies and soulful arrangements. “Heaven On My Mind” is essentially an excellent pop album that happens to be Christian, rather than a Christian album that tries to be accessible. It’s the perfect soundtrack for spring-like days when we all crave some light and positivity – a musical affirmation that faith, in whatever form, can be as much about the joy of life as about contemplation. (Jan Vranken) (8/10) (Capitol CMG)