Album review overview: BTS, Styx 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.
Disquiet – The Infinite Hell
Disquiet has existed for 25 years. To celebrate this joyful fact, the band releases this four-track mini-album. What you hear on these four tracks is a combination of (brutal) Bay Area thrash (think Testament during “Low”) and melo-death as Arch Enemy makes it. The lyrics deal with themes of death and (self)destruction and fit perfectly with the music. The album is released independently and sounds crystal clear; the artwork is also top-notch. To be original in this genre is virtually impossible. You can indeed hear which bands Disquiet is inspired by. Nevertheless, nothing is blindly copied or stolen. Newcomer bassist Kornee Kleefman acquits himself well of his task and effortlessly fills Frank van Boven’s position. The line from “Instigate To Annihilate”, which already dates from 2022, is continued on this mini-album. Disquiet treats the fans to an excellent mini-album on the occasion of their 25th anniversary. Now let’s hope we don’t have to wait another three years before Disquiet comes with a new album. (Ad Keepers) (7/10) (Independent release)
Dawn Clement – Delight
Yes. Finally. Jazz. As jazz is meant to be. Just a nicely walking upright bass, driving brushes on a snare and a piano improvising freely over it. We expectantly wait for the bassist who gets to pluck the strings freely for a moment. Or the drummer who may display some imaginative rolls until the pianist brings back the theme. This is the jazz you want to hear on a Saturday evening, in a small club, sipping a good glass, while the trio lets the notes float through the smoky room. Carefully, not too conspicuously, one of our feet moves along to the rhythm. We enjoy. “Delight” is a masterful move by Dawn Clement, who recorded the album together with Hancock’s bassist, Buster Williams and drummer Matt Wilson. Of course: the album only contains three original compositions. And honestly, when we see that “Monk’s Dream” and “Someone Took the Words Away” by Elvis Costello are also on the setlist, we don’t immediately get enthusiastic. Especially Thelonious Monk’s work threatens to become obligatory quickly. But not with this trio. On the contrary. Thanks to very original interpretations, you forget these are covers. A tribute, which we, ordinary mortals, may savour. The Monk was very critical when it came to other musicians playing his work, but we’re sure Clement would have received his blessing. (Jeroen Mulder) (9/10) (Origin Records)
Styx – Circling From Above
After almost five decades, Styx continues to surprise with their 18th studio album, a progressive masterpiece that contrasts technology and nature. Producer Will Evankovich has helped the band create a cinematic journey that feels both nostalgic and innovative. The opening track, “It’s Clear”, is considered by critics as the album’s crown jewel, featuring Tommy Shaw’s distinctive guitar work and Lawrence Gowan’s keyboard playing. The 13 tracks, all under four minutes, show a band still hungry for musical evolution. “We Lost the Wheel Again” brings a delightful Who homage, while “Build and Destroy” opens the album galloping. Just like “Come Sail Away” once did, this album proves that Styx are masters at combining progressive complexity with accessible melodies. The only criticism concerns the too glossy album cover design, but the music itself shows that these rock gods are far from finished. A triumphant return to their creative peaks. (Jan Vranken) (8/10) (Alpha Dog 2T)
BTS – Permission to Dance Onstage-Live
With their very first live album, BTS captures the electric energy of their historic “Permission to Dance” tour, which reached more than 4 million people through 12 sold-out shows. This 22-track collection shows why the K-pop phenomenon achieved such unprecedented success. Live versions of mega hits like “Dynamite,” “Butter” and “Life Goes On” get a new dimension through raw concert energy. Critics praised the original concerts with five stars, describing the setlist as “unique alchemy” and “four days of pure joy.” The Seoul Olympic Stadium material offers an intimate behind-the-scenes look at the group. Where other live albums sometimes feel forced, this feels like honest documentation of BTS at their absolute peak. Just like “Permission to Dance” itself, this album invites fans to participate in collective joy. For ARMY, this is essential; for others, it’s a fascinating introduction to the live power of the world’s biggest boy band. (Elodie Renard) (8/10) (Bighit Music)
J Balvin – Mixteip
Balvin surprises with this sudden 10-track project that he describes as “songs I had on my iPod and now go to your playlist.” The Colombian icon shows his versatility by mixing old-school reggaeton with experimental sounds. Highlight “Zun Zun” with Lenny Tavarez and Justin Quiles brings those nostalgic perreo elements à la Plan B, while “Misterio” with salsa legend Gilberto Santa Rosa offers a surprising turn. “UUU” with Stormzy delivers a tasteful blend of Brazilian funk, and “KLK” serves up danceable electro-merengue. The contrast between “Bruz Weinz” (inspired by Batman) and the more traditional tracks shows Balvin’s artistic courage. Just like “Mi Gente” once broke boundaries, Mixteip proves that Balvin can honour his Latino roots without stagnation. Some tracks feel somewhat messy, but the diversity and bold collaborations make this a worthy follow-up to “Rayo.” A solid snack that promises for future projects. (Jan Vranken) (7/10) (Suanos Globales)
