Album review overview: Gustaph, Throwing Muses 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.
Gustaph – Look at us now
The long-awaited debut album from Belgian artist Gustaph is a fresh mix of retro and modern, with comparisons to George Michael and Kylie Minogue indeed being apt. “Look at us now” feels like a triumphant cry after two decades of musical development. The album opens strongly with his Eurovision hit from 2023, “Because Of You” and continues at the same pace. The production by Richard X (known for his work with Róisín Murphy and Pet Shop Boys) gives the album a polished shine that perfectly matches Gustaph’s soulful voice. The album effortlessly combines nineties house, disco and modern pop and ranges from personal themes such as self-confidence and love to inclusivity and community – reflecting Gustaph’s position as a proud queer artist. Highlights are the Scandi-pop tracks “Like You” and Justin Timberlake’s “Can’t Stop the Feeling” spinoff “The Feeling”. Perhaps cheap, but strongly cheap. The closing ballad “Miss You The Most” offers an emotional moment of rest after the dance floor bangers. A colorful, energetic album. (Norman van den Wildenberg) (7/10) (541/NEWS Records)
Trick or Treat – Ghosted
The Italian band Trick or Treat mixes happy power metal with classical music and funny, “spooky” elements. The band has existed for over 20 years, but I’ve never delved into their music until I became curious about “Ghosted” (released April 25). The opening track has sampled sounds, classical music and a slightly spooky atmosphere. The ending is abrupt. The metal joins in “Craven Road”. In “Bloodmoon” the upbeat, accessible metal plays the leading role. Partly due to the female vocals and some grunts, there’s plenty of vocal variation. “Ghosted” is about the destructive effect of social media, and again the (layered) vocals stand out positively. The circus theme comes forward in the cheerful “Dance With The Dancing Clown”. Due to the verse-chorus structure, the tracks are sometimes a bit predictable. Yet there are surprises, like the choral singing in “Evil Dead Never Sleeps”. “Ghosted” contains an excellent mix of happy metal and classical. The background vocals and added sounds fit well. The cool guitar playing is beautifully layered, and the rhythm section is good. At times the tempo is high. At 46 minutes the playing time is long enough, yet it was a pleasant three-quarters of an hour. (Esther Kessel-Tamerus) (7/10) (Scarlet Records)
Throwing Muses – Moonlight Concessions
After five years of silence, alternative rock pioneers Throwing Muses return with their new album “Moonlight Concessions”. This record builds on the acclaimed “Sun Racket” from 2020, but at the same time reaches back to the essence of what makes this band so special. Recorded in Rhode Island under the direction of emotionally intense frontwoman Kristin Hersh, the album presents a collection of sharp, angular compositions soaked in Hersh’s characteristic surrealistic imagery. Singles such as “Drugstore Drastic” and “Summer Of Love” show the band at their best: raw, intimate and yet accessible. The first offers a vivid street scene supported by tight acoustic guitar parts, while the second forms an atmospheric opening with its ghostly, baroque tones. “Libretto” forms the emotional heart of the album, where strings and acoustic elements find a delicate balance between warmth and longing. The album, written between New Orleans and Southern California, reflects the contrasts between these two locations in both themes and sound. From xenophobic figures to vagrants with Spiderman masks – Hersh’s observations remain as idiosyncratic as they are inimitable, exactly as Pitchfork described the 1986 debut. “Moonlight Concessions” proves that Throwing Muses, despite their long history, remain true to their DIY ethic and artistic vision. A welcome return from one of the most distinctive voices in alternative rock. (Anton Dupont) (8/10) (Fire Records)
Horse Meat Disco Presents Disco & Boogie from Brazil Vol.1
Horse Meat Disco and Mr Bongo have joined forces to bring together a delicious collection of Brazilian musical gems. This compilation, born from Luke Howard’s love for Brazilian music, brings a mix of disco, funk, boogie and samba for both connoisseurs and newcomers. You’ll hear the electronic italo-disco influences on Zé Carlos’ “Venha (Remix)”. Additionally, Jorge Ben’s “Ela Tem Raça, Charme, Talento E Gostosura”, performed by Gretchen, is a perfect demonstration of Brazilian sensuality wrapped in irresistible disco grooves. Robson Jorge & Lincoln Olivetti’s “Suspira” showcases the technical virtuosity of Brazilian studio musicians, with layered synthesizers and tight rhythms reminiscent of the best of the international disco scene, but with an unmistakably Brazilian flair. This collection reflects the vibrant musical landscape of a country where rhythm and melody are deeply interwoven with daily life. Horse Meat Disco’s first Brazilian collection makes one long for more volumes and is an essential addition for lovers of disco, boogie and Brazilian music. Oh and nice: also available on green double vinyl! (William Brown) (6/10) (Mr. Bongo)
Alabaster DePlume – A Blade Because A Blade Is Whole
On his latest album “A Blade Because A Blade Is Whole”, London saxophonist Alabaster DePlume elevates his unique sound to new heights. The album follows his acclaimed “GOLD” (2022), presenting eleven songs that delve deeply into themes such as healing, dignity and struggle. DePlume’s characteristic tenor saxophone sounds wonderfully beautiful, balancing vulnerability and strength. The album interweaves diverse musical styles with stunning coherence: ghostly folk motifs, avant-garde jazz storms, elegant string arrangements (provided by Macie Stewart) and noir-like atmospheres that together form a rich soundscape. What distinguishes this album is DePlume’s philosophical approach to healing. Instead of waiting for healing to ‘happen’, he embraces it as an active process of self-determination and self-worth. This theme is interwoven in both the lyrical content and the structure of the music itself, in which contrasts between chaos and order reflect how we as humans can be both broken and whole. Songs like “Oh My Actual Days” and “Prayer For My Sovereign Dignity” demonstrate DePlume’s ability to capture emotional complexity, while “Salty Road Dogs Victory Anthem” offers a triumphant moment. The poetic depth, combined with the experimental but accessible composition, makes this album an immersive listening experience that deserves multiple sessions to fully comprehend. For fans of innovative jazz and meaningful lyrics, this album is an essential addition to their collection. (Elodie Renard) (7/10) (International Anthem)
