Album review overview: Spin Doctors, Alpha Blondy 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.
Soft Ffog – Focus
The EP “Focus” is the second release from Soft Ffog. This Norwegian quartet combines jazz with prog rock, creating nostalgic, instrumental tracks. The opening track “Camel” is complexly structured; there’s a lot to take in. Elements from the beginning return at the end. “Focus” includes subdued parts and beautiful, high (keyboard) tones. This third (and second-to-last) track is a great mix of jazz and prog. Due to the complex structure, it takes a while to get familiar with this EP. The balance and variation between the instruments is excellent. This remains the case even when the music seems to go in different directions. There are countless shifts in tempo and volume. The retro vibe of the music is delightful, and the sound is good. Although in the softer parts, there seems to be a slightly muffled layer over the music, it’s not bothersome at all. The titles of the (very different) tracks reveal their sources of inspiration. Those influences are audible. Still, Soft Ffog has its sound, and it’s a very pleasing one. (Esther Kessel-Tamerus) (9/10) (Is it Jazz? Records)
Spin Doctors – Face Full of Cake
After a decade of silence on the album front, Spin Doctors return with “Face Full of Cake”, a work that feels like a warm embrace for fans of their signature funky alternative rock. The title track opens the album with a hypnotic groove that looks both forward and backward – a time-traveling blend that retains the essence of the band while cautiously exploring new ground. Chris Barron’s voice, seasoned but unmistakably the same one that once brought “Two Princes” to life, weaves through the compositions with familiar ease. The first single, “Still a Gorilla”, confirms with every note that these veterans still possess sparkling energy, rooted in a musical chemistry that has stood the test of time. The arrangements skillfully balance nostalgic elements with refreshing musical twists, making the album feel both familiar and surprising. This is not a desperate bid for relevance but a confident reaffirmation of their musical identity. The album begs for a live experience – these new tracks will undoubtedly blend seamlessly with their classics in a show that confirms the timeless appeal of the Spin Doctors. (Jan Vranken) (8/10) (UMG Recordings)
Phil Brown – Rule of Three
An all-you-can-eat world buffet. The kind of place that advertises various cuisines, often presented buffet-style. There’s always something you’ll like. But don’t expect any culinary masterpieces. Just be glad it’s somewhat warm and that you can guess what it’s supposed to be. That’s the feeling of “Rule of Three”. Bassist Phil Brown presents a now-familiar mix of jazz, Latin, classical influences, and fusion. Something for everyone. That doesn’t make this a bad album—on the contrary—but that’s mainly thanks to the craftsmanship of Brown and the musicians he surrounds himself with – they all know how to cook. Musicians master every presented style to perfection. Brown himself is a bassist experienced in all genres due to years of playing with numerous renowned orchestras, and that versatility is the leitmotif of this album. From the rousing samba that opens the album – carnivalesque and a bit too cliché – to the very subdued “Magnolia”, where guitarist Isaac Lausell and pianist Tom Edgar show their skill in a beautiful composition. It’s one of the better, more surprising tracks. “Magnolia”, “El Buscador” and the title track are among the better pieces on the album: still not material that warrants superlatives, but it does manage to hold attention. The title track is a tasty, funky fusion piece with, among other things, a fuzzy but nicely biting electric guitar improvisation. But it’s not enough. A wide variety of styles is a commendable goal, but it shouldn’t lead to something that feels like no clear choices were made. That’s exactly what this album suffers from. It becomes a mishmash, a potpourri. Thankfully, we end with “Hip-bop”. The dessert, as often, makes up for a lot. (Jeroen Mulder) (6/10) (Phil Brown)
Alpha Blondy – Rise
In the autumn of his career, the Ivorian reggae legend Alpha Blondy—now over seventy—continues to ignite musical fires that resonate with undiminished intent. “Rise” is a meditative continuation of his lifelong mission: keeping the Pan-African dream alive amid the persistent shadows of racism and neo-colonialism. The familiar, slow reggae beats provide a hypnotic undertone on which Blondy’s messages float—nothing new, but steadfastly consistent. His collaborations with, for example, Koffi Olomide create especially luminous moments—cultural bridges that embody the essence of his vision. The production credits suggest a Prince-like autonomy, perhaps a strategic move in the music industry. While “Rise” doesn’t reach the transcendent heights of “Merci” (2010), the album reaffirms Blondy’s indispensable position as one of the last great African reggae kings after Lucky Dube’s passing—a living echo from a golden era that refuses to fade. (Jan Vranken) (7/10) (Alphaliancce)
Eisbrecher – Kaltfront°!
The German band originated from Megaherz, where frontman Alexx Wesselsky and guitarist Noel Pix previously played. Wesselsky, founder of Megaherz, clashed with other members over musical style and decided to start a new band called Eisbrecher. With this, more electronic industrial was brought in. That was especially evident in the first few albums. Gradually, heavy guitars returned, and the band delivered a whole series of powerhouse albums. Unfortunately, that can’t last forever, and the moment has come with the release of “Kaltfront”. Although there are strong tracks like the title track and “Everything Is Wunderbar”, we also hear disappointing songs—take “Waffen Waffen Waffen” for instance: it opens interestingly, the riff is good, but everything around it lacks Eisbrecher’s flair. On this first album without Pix, his absence is noticeable. The album especially lacks his contribution to songwriting. Decent songs here and there, but a step back from what the band has released in recent years. (Rik Moors) (6/10) (Sony Music)
