Album review overview: Swans, Azymuth 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.
Swans – Birthing
After 43 years of inflicting ear damage around the world, Michael Gira delivers his final ‘big sound’ album with “Birthing.” Unfortunately, this seventeenth studio album feels more like a conceptual statement than musical progress. While its predecessor, “The Beggar” (2023), offered surprising turns and emotional musical depth, “Birthing” gets stuck in predictable Swans’ formulas. The album spans nearly two hours, divided into seven extended tracks that largely demonstrate that length doesn’t automatically guarantee meaning. Gira’s obsession with ‘all-consuming sound worlds’ results in more of an endurance test than an artistic musical experience. Tracks like “The Healers” and “Guardian Spirit” drift primarily on ritual repetition without the breakthroughs that made earlier Swans epics so memorable. Of course, the band remains technically competent and atmospherically imposing, but “Birthing” lacks the innovation that made Swans great. It feels like an extended epilogue to a career that had already reached its climax. For devotees, a nostalgic conclusion; for others, a testament to artistic exhaustion. (Jan Vranken) (6/10) (Young God Records)
Slick Rick – Victory
After 26 years of silence, legendary rapper Slick Rick finally returns with “Victory,” his first album since 1999. The 60-year-old Brit shows on this 27-minute comeback that his storytelling talent is still intact. The album combines his classic storytelling with modern influences from reggae and house, which sometimes works out surprisingly well. Undoubted highlights are “Documents” with Nas and tracks like “Stress” and “Angelic.” Idris Elba serves as executive producer, and the whole thing is accompanied by a visual album. Unfortunately, “Victory” with its fifteen short tracks often feels rushed. Some songs seem half-baked and lack the cohesion of his classic work. The house influences on tracks like “Come On, Let’s Go” don’t always work convincingly. Still, this is a respectable return from a hip-hop pioneer. Rick proves that at sixty, he can still make relevant music, even if he doesn’t reach the greatness of his golden years. For old fans, a nostalgic trip; for new listeners, an interesting introduction. (Elodie Renard) (7/10) (Mass Appeal)
Azymuth – Marca Passo
After fifty years of musical innovation, Azymuth presents their anniversary album “Marca Passo” – simultaneously a tribute to deceased founders José Roberto Bertrami and Ivan ‘Mamão’ Conti. Alex Malheiros, the last remaining original member, carries forward their legacy with help from producer Daniel Maunick and new drummer Renato ‘Massa’ Calmon. The album opens strongly with the energetic “Andaraí” and “Belenzinho,” where that classic Azymuth magic is still fully present, that nervous, jazzy vibe that made them so unique. Producer Maunick succeeds in weaving modern elements without losing the groove, especially audible on the highlight “Last Summer in Rio” with Jean Paul ‘Bluey’ Maunick (Incognito) on guitar. Unfortunately, the album gradually sinks into an all-too-comfortable easy listening mode. Where Azymuth once sought the boundaries of ‘samba doido,’ much of “Marca Passo” feels safe and predictable. From the pioneers who introduced electronic instruments to classic Brazilian music and inspired hip-hop producers, you could have expected more. A respectable tribute that turns out just a bit too tame, a slight disappointment for a band with this rich history. (Jan Vranken) (6/10) (Far Out Recordings)
Murder by Death – Egg & Dart
After 25 years, Murder by Death takes an elegant farewell with “Egg & Dart,” an album that functions as a beautiful swan song. The title refers to a classic architectural motif symbolising life and death, a fitting metaphor for this farewell album full of ‘goodbye songs.’ Adam Turla’s distinctive baritone voice and Sarah Balliet’s expressive cello once again form the heart of their gothic Americana sound. The 11 tracks masterfully balance between melancholy and triumph, with songs like “Lose You” and “Wandering” being both danceable and heartbreaking. Kevin Ratterman’s production is polished but retains the raw energy that makes the band so special. “Egg & Dart” is rightly described as their “saddest and most beautiful album,” but that doesn’t prevent it from also containing moments of joy and hope. It’s not a bombastic farewell, but a storytelling journey through the shadowy world where Murder by Death always felt at home. A worthy and unforgettable finale from a unique band. (Jan Vranken) (7/10) (Murder By Death)
Joe Armon-Jones – All the Quiet (Part II)
After six years, Joe Armon-Jones returns with the second part of his most ambitious solo project. “All the Quiet (Part II)” proves that the Ezra Collective pianist can also make impressive music on his own strength. The album blends jazz virtuosity with dub production techniques, with Armon-Jones taking on all the mixing himself for the first time. This King Tubby-inspired approach gives the ten tracks a rich, layered sound that perfectly fits the futuristic concept, a story about a world where music has almost gone extinct. Guest appearances by Greentea Peng, Wu-Lu and bandmates Nubya Garcia lift the album to a higher level. “War Transmission” swings with memorable piano tones, while opener “Acknowledgement Is Key” with Hak Baker immediately sets the tone. The Herbie Hancock-esque “Paladin of Sound & Circumstance” shows Armon-Jones’ versatility. Although some tracks remain somewhat predictable, he succeeds in making accessible music without sacrificing his artistic integrity. Convincing proof that he is more than just the pianist of Ezra Collective. (Jan Vranken) (8/10) (Aquarii Records)
