Album review overview: Kerberos, Sylvie Courvoisier 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.

Sylvie Courvoisier – Bone Bells

“Bone Bells” is the third album resulting from the collaboration between Swiss pianist Sylvie Courvoisier and American guitarist Mary Halvorson. For those familiar with “Crop Circles” from 2017 and “Searching For The Disappeared Hour,” this new album will not offer any surprises: compositions and style are unmistakably characteristic of this duo. Courvoisier and Halvorson distinguish themselves in improvisations, but the pieces on “Bone Bells” are still complete, clearly framed compositions. Thanks to the dark “Bone Bells” that opens the album, one might suspect this will be a sombre record, but after the opening, it all becomes somewhat lighter. In “Esmeralda,” for which Courvoisier was inspired by a sculpture by Dutch artist Cornelis Zitman, we hear Halvorson’s improvisational talent who, with an unconventional playing style, produces the most wonderful sounds from her guitar, partly by turning the tuning pegs after striking the strings, thereby affecting the pitch. Tracks like “Beclouded” and the closing piece “Cristellina E Lontano” – with different time signatures for piano and guitar that flow into each other – are not easy pieces. “Beclouded” begins with a classical, almost bop-like jazz pattern, but develops throughout the piece into a complex duel between piano and guitar. In that regard, Courvoisier and Halvorson push to the edge where jazz still sounds composed and structured and where it transitions into eclectic improvisation, allowing each instrument to step outside the beaten path. It results in daring experiments that are not all equally successful. (Jeroen Mulder) (7/10) (Pyroclastic Records)

Kerberos – Apostle To The Malevolent

The Swiss band Kerberos mixes complex orchestral arrangements with death and prog metal. Additionally, the vocals are also very diverse: classical (choir) singing and grunts are alternated/mixed. The songs on the EP “Apostle To The Malevolent” are inspired by baroque. The lyrics address topics such as mental health and trauma. Furthermore, capitalism is criticized. The instrumental “Praeludium In H Moll” is classical. The metal comes in with “Near-Violence Experience.” The combination/alternation of deep, low grunts with classically trained voices is remarkable. Vocal sections are alternated with instrumental parts. There is a mix of metal and classical in both singing and music; the guitar solo is awesome. The songs that follow also present a lot to take in. The varied vocals sometimes work against each other, making intelligibility more challenging. There are various variations in vocals and music. Not only in tempo, but also in styles: Metal, classical, and sometimes a hint of “pop.” The calm section of the title track is unexpected. “Apostle To The Malevolent” is a complex, sometimes “hectic” album with a beautifully full sound. (Esther Kessel-Tamerus) (8/10) (Self-Released)

Sachal Vasandani – Best Life Now

“Best Life Now” reveals the renowned American jazz singer Sachal Vasandani as a musician who shows us the diverse landscapes of love through a prism of jazz, soul, and R&B. With drum virtuoso Nate Smith not only behind the drum kit but for the first time as a producer, a sound palette emerges that sounds beautifully authentic and convincing. The collaboration between Vasandani and Smith creates an alchemy in which vulnerability is steeped in sultry grooves. Vasandani’s voice, with a clear ability for improvisation, navigates through slightly clichéd stories of passion and heartbreak, nocturnal embraces, and unrequited love. Guest contributions from Gretchen Parlato and Shayna Steele, alongside Dayna Stephens’ sax, enrich the musical texture. Songs like “Tyrannosaur” and “Right On Time” have an accessibility that blurs the line between jazz and pop without losing artistic integrity. The album manifests Vasandani’s ability to make personal experiences universal – his love afflictions become a soundtrack for our romantic adventures. An engaging 8/10 for this musical love ritual. An album for people who sometimes find love painful. (Jan Vranken) (8/10) (Patron Saint International)

Stéphane Belmondo & Thierry Maillard – QR Code 2

In the tension between electronics and acoustic warmth “QR Code 2,” a work in which trumpeter/DJ Stéphane Belmondo and keyboardist Thierry Maillard create a sound palette that eludes conventional categorization. The hideously ugly cover – a graphic dissonant – ironically forms the gateway to a world of musical warmth. The album opens with “Hegaldia,” a tribute to the recently deceased guitarist Sylvain Luc, in which melancholy and contemplation are woven into a delicate musical dialogue. What follows is an odyssey in which fourteen keyboards and effect pedals transform the trumpet, flugelhorn, and even shells into a cinematic soundtrack. Particularly noteworthy is how the duo effortlessly moves between quiet moments (“The Sound Of The Forest”) and energetic explorations that nod to their rock influences, with echoes of their earlier work around Supertramp and Grateful Dead. This is not music that asks for public approval, but rather an intimate conversation between two musicians who create in complete freedom. The pastiche of synthesizers and brass results in a charming, sometimes somewhat navel-gazing journey that may not be accessible to everyone, but rewards those willing to surrender to this unique sound world all the more. A warm, idiosyncratic album that sounds better than it looks. (Anton Dupont) (7/10) (Ilona Records)

Steve Postell – Walking Through These Blues

Steve Postell’s new album “Walking Through These Blues” is an impressive collection of songs that reflects his versatile musical journey. From conservatory to Broadway and film music, Postell has walked a unique path. His warm voice, sometimes reminiscent of Tom Petty, carries lyrics full of wisdom and vulnerability. His guitar playing is both subtle and powerful, creating an emotional depth that becomes richer with each listen. As a member of The Immediate Family, the supergroup of famous session musicians, Postell has access to exceptional talent. Bandmates Lee Sklar (bass) and Danny Kortchmar (guitar) provide a solid foundation, while the Lennon brothers (from Venice) add beautiful background vocals. Legends like Steve Ferrone and Iain Matthews’ ethereal harmonies enrich multiple tracks. Although David Crosby is not in the credits, his influence is palpable — Postell rehearsed with him for a tour shortly before Crosby’s passing. “Walking Through These Blues” proves that blues in Postell’s hands is not a relic from the past, but a living tradition. He doesn’t play the blues, he IS the blues. A very beautiful album. (Jan Vranken) (8/10) (Quarto Valley Records)