Album review overview: Garou, Popa Chubby 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.

Dawn Brothers – Cry Alone

The Rotterdam-based band The Dawn Brothers recently released their sixth album “Cry Alone”, and they make no compromises on it. They remain true to their identity of blues rock, folk rock, Americana, and soul. Still, “Cry Alone” is somewhat darker. Although that’s not immediately apparent in the soulful opener “Do Me Wrong” and the infectious “Can’t Let You In, Can’t Let You Out”. But “I Will Never Hold Your Heart Again” sounds like Otis Redding has come back for a moment to pour out his heart. The cynical “I Cry Alone” leans more toward the country rock of The Band or CCR. As does “Seven Year Itch”, with an oh-so-catchy roots riff. It may all play it safe within the lines with straight-ahead songs, but that won’t bother their loyal listeners or concertgoers. “Cry Alone” is once again a strong album where fans of roots rock, blues, and soul will find much to enjoy. It contains all the right ingredients, and yet they manage to make it feel like one seamless whole. (Peter van Cappelle) (9/10) (Excelsior)

Sean Haefely – Flying Broken Form

Hip-hop and jazz: it’s a combination that has been successful for years. Many jazz musicians today use samples and especially rap – and Sean Haefely is no exception. The man sings, raps, proclaims in complex compositions, of which “Drop”, following the brief soundscape “Awakening” as the opener, is an excellent calling card for this “Flying Broken Form”, an album that invites the listener on a journey. Because that’s what this record is: a quest for meaning in a world where everything seems broken. The comparison to “Pieces of a Man”, the gem by Gil Scott-Heron, comes quickly: the mix of jazz, funk, R&B, and rap serves as a foundation for lyrics in which Scott-Heron addresses social issues by projecting them onto the environment he grew up in. Haefely has listened to Scott-Heron. In “Battle Cry” he sounds almost desperate: ‘Fighting, praying, swearing, debating. Can you tell me we are going to find a way?’ The music reflects the struggle Haefely must have endured while writing – and the poor listener is meant to feel that struggle too. From light and almost carefree to darker realms in which Haefely twists and turns in contemplation about the end point of his search. Thoughts tumble over each other, just like the layers in the music. ‘My mind won’t stop racing’, he observes in “The Hustle”, the song which also features a lovely solo by Ukrainian trumpeter Dima Bondarev. But “Flying Broken Form” lacks something that ‘Pieces of a Man’ had: tension. It just never gets truly exciting. You never truly feel the pain of the struggle, making them simply songs. Nice songs, but Haefely has higher ambitions, which this album does not fulfill. (Jeroen Mulder) (6/10) (Sonic Density)

Garou – Un Meilleur Lendemain

For the first time in his impressive career, Québécois singer Garou has taken on both the lyrics and music of an entire album. “Un Meilleur Lendemain” therefore feels like a debut, even though the 52-year-old artist has been active in the music world for decades. The man who became world-famous as Quasimodo in the musical “Notre-Dame de Paris” and for the beautiful duet “Sous le Vent” with Celine Dion, delivers with his signature raspy voice a collection of songs that are both personal and accessible. From his passion for music in ‘Des choses à dire’ to environmental concerns in the title track ‘Un Meilleur Lendemain’, Garou gives us a glimpse into his soul. Particularly impressive is “Nobody Else”, a love letter to his current partner, which reached the perfection he sought after sixteen arrangements. Also, “Pour elle”, with nods to Beethoven’s “Für Elise”, showcases his piano talent, now finally more prominently featured in his work. It’s a shame Garou never truly broke through yet. The language barrier surely plays a role, but good music is felt in the heart. And that heart beats strongly in this beautiful, intimate collection of songs that looks both back and forward. (Jan Vranken) (8/10) (Wolfgang Entertainment Inc)

Emil Brandqvist Trio – Poems for Travellers

It’s a love-hate relationship – the connection between Swedes and Finns, much like how we relate to our eastern neighbors. The jokes Swedes make about the supposedly dim-witted Finns are numerous. Yet, the Finns know they are the buffer between the Russian bear and the softies of ABBA-land. They can’t live with or without each other – and the same goes for the trio around Swedish drummer Emil Brandqvist, who has for years worked with Swedish bassist Max Thornberg and Finnish pianist Tuomas Turunen. On “Poems for Travellers” we’re treated to twelve new compositions, all by Brandqvist. And the drummer delivers, without fail. It’s a familiar and above all lighthearted sound. The sweeping rhythm from Brandqvist and Thornberg forms a feather-soft bed for the graceful, almost airy tones the Finn conjures from the keys. Don’t expect fireworks with dramatic breaks, tempo changes, or key modulations. This is smooth jazz that won’t startle anyone. “Run Away” is one of the more exciting tracks, but there’s no real need to flee. If this is music for travelers, then it’s for the more fortunate ones flying business class. We put on the sleep mask handed to us by the flight attendant, leaned back in our seat, and raised the footrest. Noise-canceling earbuds in – and this jazz. “Destination Unknown”. Nah. The record lasts exactly as long as the flight from Amsterdam to Stockholm Arlanda. That’s long enough. (Jeroen Mulder) (7/10) (SKIP Records)

Popa Chubby and Friends – I Love Freddie King

On his new tribute to blues legend Freddie King, Popa Chubby once again proves his deep connection to the roots of the blues. With an impressive lineup of guest musicians, he captures the spirit of the Texas Cannonball without losing his own identity. The production is superb – raw where needed, polished where it counts. Recorded over a three-day session at G. Bluey’s Juke Joint, every note breathes authenticity. The opening track ‘I’m Going Down’ featuring Joe Bonamassa, immediately sets the tone – two guitar titans perfectly complementing each other in their tribute to King. There are plenty of highlights: ‘Hideaway’ with Arthur Neilson retains all the swagger of the original, while “She’s A Burglar” with Mike Zito and a fiery horn section reaches new heights. Especially notable is Christone ‘Kingfish’ Ingram’s contribution, bridging the past and future of the blues. The energy remains high from beginning to end. Blues may have been marginalized in the mainstream, but as long as dedicated craftsmen like Chubby put their soul into it, this primal form of music will continue to resonate. This album is more than nostalgia – it’s a celebration of a timeless art form by musicians who understand what the blues truly means. (Jan Vranken) (8/10) (Gulf Coast Records)