Album review overview: Lola Kirke, Melin Melyn 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.

Melin Melyn – Mill On The Hill

Melin Melyn, a band from Wales that is very difficult to categorize. A mix of psychedelia, pop, country and prog. The band name is Welsh for the yellow mill, which is what this debut album is about. It’s a complete concept album about a village and the band, the millers, who make music for their fellow villagers. Although that might not sound like the most exciting storyline, this album manages to remain captivating. By effortlessly switching styles, it keeps you engaged and curious about what the next song will bring. The band seems at home in all markets. From country, including slide guitar, they switch to surf rock and to psychedelic pop that harkens back to the 60s. The band was asked in an interview how they came up with this fictional concept. Vocalist Gruff Glyn responded: “Fictional? Sorry, what do you mean? The Mill On The Hill is a mill that sits on top of a hill overlooking Melin Village. Everyone is welcome in Melin Village. We, Melin Melyn, are the six millers of the Mill. Every morning we stroll to the top of the hill to create music for the villagers of Melin Village and beyond. It seemed apt to us to dedicate the album to the place where it was created. Without the mill, our music could cease to exist.” Furthermore, the Welsh roots are not forgotten, and several songs are sung in that language. Although most people outside Wales will not make much of it, it also adds to the surprise effect that each song has, especially during the first listen. So much happens that singling out a few tracks would do the others a disservice. Each song differs so much from its predecessor. In that respect, it is somewhat reminiscent of 10cc. With “Mill On The Hill,” Melin Melyn proves that music doesn’t always have to be deadly serious. The musicality drips from the record, and that, combined with all the humor the album brings, makes this album very pleasant. A mill that will hopefully continue to turn for a long time. Melin Village welcomes everyone, so be sure to go take a look! (Rik Moors) (7/10) (Blomonj)

Reggie Watkins – Rivers

Pittsburgh: the City of Bridges. And where there are bridges, water flows underneath; water that is always close by in this city. And that water inspires. It’s no coincidence that the city in Pennsylvania is a center for swirling jazz and, thus worthy of tribute. But the tribute is not solely for the city where trombonist Reggie Watkins lives and works. The title of his latest album also refers to Sam Rivers, one of Watkins’ great examples. With “Rivers,” Watkins tells his story, how jazz has shaped him, has made his playing, the way he lets the notes flow warmly and glowingly like the water in one of the three great rivers that converge in Pittsburgh. Rivers tells of trombonists like David Gibson and Steve Davis, of Monk and J.J. Johnson, of Don Cherry. It’s the story of a deeply felt love for jazz, expressed in thirteen original compositions. That is, if you take the trouble to bite through the opener: “Blues in 3-D” is a complex piece that could make the love incomprehensible and perhaps even unattainable. Patience is rewarded here because “Waiting” is a very accessible piece and thus much more of a calling card for this album. We could now say that the album flows quietly, but nothing could be further from the truth. “Rivers” harbors some exciting pieces that you need to let sink in. The dark “Mediation” is an example of this, where Watkins shows that besides being virtuosic, he can also sound slow, bearing, and threatening – only to switch directly after that piece into a bebop-like improvisation. All in all, “Rivers” has thus become a very varied album, which, like the city, sometimes surges and bubbles but also takes its rest from time to time. (Jeroen Mulder) (8/10) (BYNK Records)

Exterior Palnet – Haragma ll

Exterior Palnet is a Croatian band playing Avant Garde/Black metal. Not an easy listen, then. Currently, Exterior Palnet consists of two people. Guitarist Bruno Cavara and vocalist Tomislav Hrastovec. Who played the rest of the album is unknown to me, but the rhythm section and the keyboardist have done excellent work. In particular, the drumming is of great quality. Exterior Palnet was founded in 2015. In their 10-year existence, they have released 1 album, “Dorsia,” which came out in December 2017, and now this album “Haragma ll”. “Haragma ll” contains only 5 songs but still clocks in at over 35 minutes. Both albums have been self-released (Bandcamp), and I can imagine why. The music that Exterior Palnet makes is not commercially very attractive, to put it mildly. The songs are long and full of dissonant hooks, with wall of sound textures largely created by the keyboards. All this cast in a cohesive whole. Themes that Exterior Palnet addresses are esotericism, mysticism, and science fiction, and are just as complex as the music Exterior Palnet makes. If you like bands like Krallice, Deathspell Omega, and Dødheimsgard, you can purchase this album with peace of mind. Fans of Voivod can probably also get along with this album. The music on “Haragma ll” can be described as Voivod with blast beats. “Haragma ll” is available on Bandcamp. I hope this band gets signed by a record label. They deserve it. (Ad Keepers) (8/10) (Self-produced)

Lola Kirke – Trailblazer

Lola Kirke’s new album, “Trailblazer”, offers an accessible collection of ten pop-country songs that are pleasant to the ear without too many surprises. The actress-musician, known from “Mistress America” and “Mozart in the Jungle,” continues her musical heritage with a record that comfortably balances between genres. The title song tends more towards pop, while other tracks show a stronger country influence. Kirke’s warm, smoky voice forms a constant factor throughout the album but sometimes lacks the distinctive power to make an impression. “Trailblazer” presents itself as a commercial product that doesn’t really excel anywhere but also doesn’t fall short anywhere. It’s exactly what you would expect after her earlier releases “Heart Head West” and “Lady for Sale” – skillfully produced but without major artistic risks. Ultimately, this is an album that won’t quickly irritate you, but that you also won’t specially put on. A pleasant background record for fans of light country-pop that doesn’t ask much of the listener. (Jan Vranken) (6/10) (Lola Kirke/One Riot Records)

Imperial Triumphant – Goldstar

The experimental blackened jazz-metal band Imperial Triumphant from New York brings another groundbreaking album with “Goldstar.” The nine tracks are all intensive listening adventures that continue to push boundaries. The opener, “Eye of Mars”, immediately confronts you with the uncompromising approach of the trio led by frontman Zachary Ilya Ezrin. But behind the wall of dissonance and technical complexity lurks a surprising sense of humor. The witty wordplay in songs like “Gommorah Nouveaux” reveals that these gentlemen don’t take themselves too seriously. This record is special because they suddenly weave jazzy bass lines or floating guitar parts between the extreme passages. The album is, therefore, not merely a test for your hearing. The collaboration with Slayer drummer Dave Lombardo on “Pleasuredome” results in a slow, oppressive nightmare that slowly gains steam. Imperial Triumphant has invented a unique genre – a unique mix of avant-garde jazz, classical elements, and extreme metal. “Goldstar” is an album for auditory masochists, but it shows why this band occupies such a special position in the metal landscape. (Anton Dupont) (7/10) (Century Media Records)