Album review overview: Jethro Tull, Wet Leg 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.

Micke & Lefty ft. Chef – Live On Air

This double live album showcases the acoustic side of Finnish bluesman Micke Bjorklof in collaboration with guitarist Lefty Leppänen and Miikka ‘Chef’ Kivimäki. The first disc was recorded live on May 16, 2020, in the Boomroom Studio in Kauhava and later broadcast on German radio. The second part is a recording from the BluesBaltica Bluesfest in Eutin from 2023. The strength of this album lies in the intimate, acoustic approach to both original compositions, mainly by Lefty, and classic blues covers. Robert Johnson, Willie Dixon, Jimmy Rodgers, and Big Bill Broonzy are featured in respectful interpretations that preserve the essence of the original songs. The trio creates a warm, authentic atmosphere where Bjorklof’s harmonica and vocals blend beautifully with Lefty’s guitar playing. The live recordings breathe the spontaneity and energy of genuine blues performances. “Live On Air” proves that good blues doesn’t always need loud amplifiers – sometimes less is more. (Eric Campfens) (7/10) (Hokahey Records)

Wet Leg – moisturizer

After their Grammy-winning debut, “moisturizer” proves that Wet Leg doesn’t suffer from the second album curse. Rhian Teasdale and Hester Chambers deliver a more brutal, emotionally honest record than their debut. The album opens with “CPR,” where falling in love is treated as a medical emergency, typical Wet Leg. Producer Dan Carey refines their sound without losing raw energy. Highlights “Mangetout” and “Catch these fists” show their evolution from a duo to a five-piece band. Where their debut was about dissing annoying men, “moisturizer” dives deeper into love. “Davina Mccall” combines dreamy melodies with hilarious lyrics (“I’ll be your Shakira, whenever, wherever”), while “pond song” has Chambers confessing how in love she is. Like The Strokes, they combine punk energy with unforgettable hooks. Only criticism: the slow ballad “11:21” doesn’t fit their style. Otherwise, “moisturizer” shows a more confident, emotionally mature band without losing their characteristic humour. (Jan Vranken) (8/10) (Domino Recording)

Barry Can’t Swim – Loner

Edinburgh’s Joshua Mainnie delivers with “Loner” an introspective follow-up to his highly praised debut. Where his first album was a collage of beloved music, this feels like his most authentic expression. The album opens meditatively with “The Person You’d Like To Be,” where philosophical undertones permeate the entire album. Mainnie has expanded his musical palette with jazz, ambient, and broken beat, resulting in a richer sound. Highlights are the melancholic “All My Friends” and Four Tet-like “Kimpton” (with O’Flynn), which feels like sunset on psychedelics. “Cars Pass By Like Childhood Sweethearts” delivers warm nostalgia reminiscent of early Bonobo. Like his great predecessor Aphex Twin, he finds the perfect balance between danceable rhythms and emotional depth. However, “Loner” doesn’t fully match the magic of his debut. Some tracks feel less distinctive, and introspection sometimes comes at the cost of direct impact. Nevertheless, Mainnie confirms his status as an interesting voice in contemporary electronic music. (Anton Dupont) (8/10) (Ninja Tune)

Jethro Tull – Still Living in the Past

Fifty years after its original release, “Living in the Past” now receives a luxurious reissue. This five-CD + Blu-ray box contains Steven Wilson remixes, demos, and a completely remixed Carnegie Hall recording from 1970. Ian Anderson presents a treasure trove of material for true Tull lovers. Wilson’s remixes give classics like “Locomotive Breath” and “Bourée” new clarity. The Carnegie Hall recordings show the band at their peak, especially the extended “Dharma For One”, which demonstrates progressive ambitions. Problem: This remains a compilation – “hodge-podge” according to critics. Not an ideal entry point for newcomers, as many bonus tracks we already found on previously released reissues. The production quality is excellent, but the added value is limited, though masses of Wilson disciples won’t agree. Like “Thick as a Brick” back then, this shows technical proficiency but lacks the focus of a truly creative statement. A must-have for completists, others can skip the luxury. Nostalgia dominates innovation in this extensive but non-essential reissue from prog pioneers. (Jan Vranken) (6/10) (Parlophone Records)

Jim Watson – Calling You Home

This album will indeed feel like coming home for Jim Watson after the numerous wanderings he made as a keyboardist accompanying artists like Sting, Manu Katche, and Katie Melua. On “Calling You Home,” Watson completely determines what gets played. Partly these are his compositions, partly covers. In the latter category is, for example, “The Weight,” The Band’s classic, but in Watson’s completely stripped version – it’s only the piano – much more emphasis is placed on the melody line than in the original. Characteristic of Watson’s piano playing is the ease, the playfulness with which he approaches the material. Watson chooses innovative interpretations. A good example is the jazz standard “Bewitched, Bothered and Bewildered”: that piece has been covered countless times, but Watson gives it a light-footed, subtly romantic character. Besides the covers and jazz standards, the English pianist plays his compositions. Here too, Watson doesn’t limit himself in style or genre: we go from the virtuosic opening track “Midge” to a more subdued, dark piece like “Darkstar Sky.” Despite hearing only a piano, we can safely say that “Calling You Home” is a particularly rich, varied album. (8/10) (Jeroen Mulder) (Jim Watson)