Album review overview: Machine Head, Mad Professor 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.

Brain Damage x Emiko Ota x Mad Professor – Oide Oide

In the world of experimental dub, a fascinating collaboration appears that pushes boundaries. On “Oide Oide,” three exceptional artists join forces: French producer Brain Damage, Japanese multidisciplinary artist Emiko Ota, and English dub master Mad Professor. This ‘post-dub’ collaboration immerses us in Japanese folklore, with stories about yōkai (supernatural beings) brought to life through Ota’s enchanting Japanese vocals. The album contains ten tracks – five originals composed by Brain Damage with Ota’s vocals, followed by five dub versions led by Mad Professor. Brain Damage deliberately breaks with the Jamaican tradition of dub, creating a refreshing sound that encompasses genres such as experimental electronics, post-punk, and noise-pop. Songs like “Katsura Otoko” and “Baku” are carefully constructed with traditional instruments, toys, and synthesisers, resulting in a colourful soundscape. Mad Professor’s contribution is minimalist, yet his influences are audible. Especially in “Baku Dub” and “Isogashi Dub,” his characteristic deep bass sounds are prominently present. “Oide Oide” is a unique album that takes listeners on a sensory journey where Japanese mythology and innovative soundscapes come together. The concept of ‘post-dub’ is fully realised here, with a result that is both surprising and immersive. An essential must-listen for lovers of experimental music, but for most, perhaps just a bit too experimental. (Anton Dupont) (6/10) (Jarring Effects)

Russ Ballard – Songs From The Warehouse / The Hits Rewired

Russ Ballard, former frontman of Argent, presents with “Songs From The Warehouse / The Hits Rewired” a double album on which he reinterprets his hits. The term ‘hits’ should be taken with a large grain of salt here, because who still knows Ballard nowadays? Almost nobody. However, that doesn’t detract from the fact that this collection remains a beautiful showcase of well-written pop/rock songs that still hold up even now. Of course, we immediately go to “Since You’ve Been Gone,” which is re-recorded here almost identically to the original. Nice, but nothing more than that. Hot Chocolate’s “So You Win Again” proves to be an extremely catchy pop track even in Ballard’s version. For old fans of Ballard, should they still exist, this double album is fantastic material. It’s not out of the question that the man will tour with this repertoire. That could be quite interesting. The collection is not a world-shaking release but offers a pleasant dose of craftsmanship and nostalgic flair. It shows that Ballard’s compositions have withstood the test of time quite well, even if his name hasn’t. (Jan Vranken) (7/10) (Frontiers Records)

Machine Head – Unatøned

Machine Head is an established name in my beloved genre. For over 30 years, Machine Head has been releasing albums with varying quality and success. After a good start with the legendary debut “Burn My Eyes,” which was musically the perfect child of groove and thrash metal, Machine Head began to experiment and ride the popularity of ‘nu-metal’. Fortunately, Robb Flynn with his band picks up the thread again with the albums “The Blackening” and “Unto The Locust.” Long songs with a foundation of classic heavy metal and thrash, with complex song structures and guitar riffs supported by primarily fast (for the first time we hear blast beats) and inventive drumming. After these albums, I continued to follow Machine Head, but it became increasingly difficult for me to remain a ‘fan’. “Unatøned” is now the eleventh album from Flynn and company. Once again, I am somewhat disappointed. What stands out first is the short playing time of both the entire album and the songs on it. Furthermore, Robb Flynn makes extensive use of his clean voice, which is especially noticeable on the worst track, “Øutsider.” On “These Scars Wøn’t Define Us,” the vocalists from In Flames, Unearth, and Lacuna Coil participate. Machine Head will be doing an extensive North American tour with these three bands this year. “Unatøned” certainly has its moments and sits quality-wise in the middle segment of what they have released so far. Thrash fans can safely skip this album, but fans of Bring Me The Horizon and similar bands will enjoy this a lot. One more point, what’s up with the current rage to replace the normal ‘o’ with the ‘ø’ – is that supposed to be heavier? I find it rather idiotic. (Ad Keepers) (6/10) (Nuclear Blast/ Believe)

Kamaal Williams – Solo Piano (Live in Tokyo)

Kamaal Williams, known for his virtuoso combination of jazzy fusion and electronic beats, completely changes course with his intimate “Solo Piano (Live in Tokyo).” This live-recorded album shows Williams in his purest form: stripped of all frills and production tricks, just a man and his piano. The five compositions – three of which are his works – offer a surprising insight into Williams’ musical depth. His reinterpretation of Ryuichi Sakamoto’s electronic piece “Dream” is a beautiful tribute that elevates the compositional richness of the original to new heights. The collaboration with London spoken word artist ‘Sir’ Don Rattray on “Iron” forms a fascinating contrast but fits wonderfully within the whole, and confirms the rise of spoken word as a new musical movement from England. With only 25 minutes of playing time, the album leaves you hungry for more of Williams’ piano playing. His dynamic playing and sense of melody show a musician who continues to develop. “Solo Piano” is an impressive turn in his career that suggests we will hear much more from this versatile artist. (Jan Vranken) (8/10) (Black Focus Records)

Web Web – Plexus Plexus

Jazz from Munich. At least, that’s how Web Web describes itself on Instagram. But when the first notes of “Apotheosis” sound, doubt sets in. It’s the opening track of the new album “Plexus Plexus.” On a few sites, this ensemble from Bavaria is categorised under the label krautrock, the German answer to prog from the late sixties. Krautrock has developed over the years into a substantial genre, in which Web Web indeed fits well. “The Madness of Ajax,” for example, is reminiscent of material that our Solution or Focus released in the seventies: a funky track with a leading role for the flute. Web Web shows the listener all corners of the room in fourteen short tracks and doesn’t shy away from any experiment, as if it all arose spontaneously, where ideas were born on the spot, immediately executed and recorded. And that’s indeed the case. Because this “Plexus Plexus” is essentially a summary of two recording days of ten hours each, in which the music was not composed, but given space to conceive, germinate, and then grow into short, but full-fledged tracks. The word ‘improvisation’ doesn’t cover it, it’s too well-thought-out for that. A rich palette of instruments passes by: Fender Rhodes, mellotron, Moog, saxophone, flute, and the guitar of special guest JJ Whitefield. Each instrument adds something at exactly the right moment to a composition. “Bird of Lament,” “Nyx,” or the ultimately experimental “Garden of Hesperidus” (named after the nymphs from Greek mythology) are good examples. Full-fledged, but also complex tracks, carefully orchestrated, with many layers. You hear something new with each spin. This is not an album to do the dishes to. No, this is a fine dish of which you must experience each flavour separately to enjoy the total. That’s not for everyone, but giving it a try won’t hurt. (Jeroen Mulder) (7/10) (Compost Records)