Album review overview: Dropkick Murphys, Kesha 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.

Dropkick Murphys – For The People

YES! The Dropkick Murphys are back with “For The People”, an album that arrives at exactly the right time for American patriotic feelings. The Boston Celtic punk veterans showcase their distinctive mix of traditional Irish folk and hardcore punk, where mandolin and bagpipes seamlessly blend with blazing guitar riffs. The album opens powerfully with uptempo anthems that perfectly match their reputation as a live beast. The production sounds clear and powerful, with great attention to detail in the arrangements. Frontman Ken Casey’s recognisable raspy voice gets enough space to burst out, supported by the usual sing-along choruses. While the album doesn’t offer major surprises, it remains true to the formula that has made the band successful for years. And frankly, that’s good enough for the Murphys. The songs are well-constructed and individually have enough energy to satisfy both old and new fans. “For The People” is a good addition to their discography. And not only for the die-hard fans… (Anton Dupont) (7/10) (Pirates Press Records)

Paul Banks – Sister Midnight

Paul Banks (Yes, that one from Interpol) ventures into his first film score with “Sister Midnight”, combining Iggy Pop covers with instrumental compositions. The album includes his dark interpretations of “Gimme Danger” and “Sister Midnight”, where Banks uses his characteristic baritone to give the classics a new dimension. The instrumental pieces show a different side of his musicality, experimenting with atmospheric soundscapes that perfectly match film imagery. Director Karan Kandhari noted that it truly requires talent to stand alongside The Stooges and Motörhead on a soundtrack. Mr. Banks manages to maintain his own identity while respecting the atmosphere of the original songs. The album works both as a standalone listening experience and as accompaniment to the film’s visual content. The production is tight and detailed, with great attention to texture and atmosphere. Even solo, Banks holds his own. (Norman van den Wildenberg) (8/10) (Matador Records)

David Bixler – Incognito Ergo Sum

During the pandemic, saxophonist David Bixler, bassist Dan Loomis, and drummer Fabio Rojas played in a park, incognito, somewhere in New York. As long as they played, they existed. I am incognito, therefore I am. And so they played: without announcement, for random, passing audiences: people who went for a walk and stopped for a moment to listen to the trio. Bixler wanted to capture that atmosphere: it had to be unforced, raw, unpolished. The result is a sound stripped down to its naked essence, without the trio letting itself be “chained” to a particular style. We hear free jazz, hints of bop and even rock themes, where even for the trained ear it’s sometimes difficult to find any foothold. Tracks like “Liminal Space” and “What’s at Hand” are not the easiest pieces where the trio lets the music emerge organically, often based on nothing more than a few short motifs usually initiated by Bixler’s soprano sax. The destination is known, the journey there is completely open and provides space for Loomis and Rojas to add accents and further determine the course of the music. All tracks were recorded in one take, and many times the progression of the composition will have been a surprise for the trio itself. If that was the intention of this record, then David Bixler has succeeded. But honesty compels us to say that this is not an album for beginners. (Jeroen Mulder) (7/10) (DSP Relations)

Kesha – .

Kesha’s first album under her own label marks a moment of creative and legal freedom after almost 20 years. “.” is a playful pop album that takes pleasure in throwing things against the wall and seeing what sticks. The album feels untamed, chaotic and unabashedly itself, without chasing trends. The opening track immediately shows Kesha’s free-spirited attitude, while the album offers a mix of uptempo dance tracks and more contemplative ballads. While Kesha herself calls this “the ultimate fuck-you album of all time”, the rest contains a more contemplative mix of slow disco and pop ballads. Kesha seems torn between breathing new life into her early rebellious spark and continuing in a more introspective direction. The album succeeds in showing both sides of her personality. (William Brown) (7/10) (Kesha Records)

Kae Tempest – Self Titled

Kae Tempest’s fifth studio album “Self Titled” (No, not “Kae Tempest”, but actually “Self Titled”, possibly as a statement that it has a title) is a powerful, self-assured album. Album opener “I Stand On The Line” is immediately a hit, a declaration from Kae’s current self to the past and a love letter to the transgender community. The South London wordsmith combines spoken word poetry with accessible beats and catchy hooks, resulting in an album that is both introspective and directly accessible. The album is strong from beginning to end, in a mix of self-acceptance and a celebration of who you are. The production perfectly balances experimental elements with mainstream appeal. Tracks like “Hyperdistillation” confront listeners with uncomfortable truths about contemporary life, while other songs sound more hopeful and uplifting. Kae Tempest proves once again why they are one of the most important voices in the contemporary spoken word scene, with a powerful message. And that’s something many people need nowadays. (Norman van den Wildenberg) (8/10) (Fiction Records)