Album review overview: Alison Goldfrapp, Bruce Liu 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.
Chevelle – Bright As Blasphemy
After four years of silence, Chevelle returns with “Bright As Blasphemy”, an album that brings the band back to their characteristic alternative metal sound. The opening track “Chemical” immediately sets the tone with heavy riffs and Pete Loeffler’s recognisable vocals that balance between melody and aggression. The title track “Bright As Blasphemy” shows the band at their best, with a hypnotic groove that demonstrates why they’ve remained relevant for decades. Songs like “Salvation” and “Breaking Point” vary from atmospheric passages to explosive choruses, whilst the production allows space for every nuance in the sound. Sam Loeffler’s drum parts continue to form the foundation for his brother Pete’s experimental guitar work. The album succeeds in being both accessible and challenging, without losing the intensity that longtime fans so appreciate. “Bright As Blasphemy” proves that Chevelle still knows how to perfect their unique sound. (Norman van den Wildenberg) (7/10) (Alchemy Recordings)
Ellefson-Soto – Unbreakable
The collaboration between former Megadeth bassist David Ellefson and vocalist Jeff Scott Soto results in “Unbreakable”, an album that combines old-school heavy metal with modern production techniques. The opening track “Rise Above” immediately sets the tone with Soto’s powerful voice that perfectly complements Ellefson’s distinctive bass lines. The title track “Unbreakable” shows both musicians at their strongest, with an anthem that sounds both nostalgic and fresh. Songs like “Metal Heart” and “Thunder Road” bring back memories of heavy metal’s glory years, but never feel like imitations due to the unique chemistry between both veterans. The guest contributions on tracks such as “Warrior’s Call” and “Steel Commander” enrich the album without disrupting the cohesion. Ellefson’s rhythmic foundation forms the perfect basis for Soto’s versatile vocal style that ranges from melodic to aggressive. The album succeeds in satisfying both old fans and attracting new listeners with its timeless approach to heavy metal. (Anton Dupont) (7/10) (Rat Pak Records)
Alison Goldfrapp – Flux
On her second solo album, Alison Goldfrapp shows herself more vulnerable than ever. “Flux”, the first album on her label, is about change and introspection, inspired by the northern lights that she’s been trying to see her entire life. Together with Richard X and Stefan Storm, she creates an elegant mix of synthpop and personal reflection. The album opens with “Hey Hi Hello”, which combines nostalgic “Supernature” vibes with melancholy. Single “Find Xanadu”, comparable to the magic of “Ooh La La”, offers pure synthpop euphoria, whilst “Reverberotic” shows how she effortlessly switches from ambient to electro. “Cinnamon Light” radiates eighties warmth, and the closing track “Magma” floats on heavenly vocals. Sometimes the album feels too smoothly produced, as if Goldfrapp’s experimental side has been polished away too much. It lacks the rawness that made her duo work so memorable. Nevertheless, “Flux” proves that Goldfrapp can still set trends rather than follow them after 25 years. (Jan Vranken) (7/10) (A.G. Records)
Incite – Savage New Times
With “Savage New Times”, Incite delivers their most balanced album to date, in which the aggression of groove metal is perfectly combined with more experimental elements. Frontman Richie Cavalera, son of Max Cavalera, once again shows his powerful voice on opener “New World Rising”, where his anger and passion come across perfectly. The title track “Savage New Times” combines political messages with irresistible riffs that stick. Songs like “Digital Divide” and “Broken System” show the band’s social consciousness without this coming at the expense of musical intensity. The rhythm section of drummer Lennon Lopez and bassist Christopher White forms a solid foundation for the experimental guitar lines of Dru Rome and Eli Santana. Tracks such as “Resistance” and “Fight the Power” vary between pure aggression and more melodic passages where the band’s dynamics come into their own optimally. “Savage New Times” proves that Incite have found its own identity within the groove metal genre. (William Brown) (8/10) (Reigning Phoenix Music)
Bruce Liu – Tchaikovsky: The Seasons deluxe edition
Three years after his historic victory at the Chopin Competition, Bruce Liu chooses an unexpected turn: Tchaikovsky’s “The Seasons”. These twelve piano miniatures, originally published as monthly supplements in a music magazine, reveal the intimate side of the Russian master. Liu’s approach is poetic and nuanced. In “January (At the Fireside)” he perfectly evokes the warmth of an open fire, whilst “February (Carnival)” bubbles with childlike joy, think of the sparkle of Tchaikovsky’s “The Nutcracker”. His refined touch in “June (Barcarolle)”, the best-known part of the cycle, shows subtle dynamics and fragile melancholy. “October (Autumn Song)” receives a heart-rending melancholy. The deluxe edition contains five extra Tchaikovsky pieces, including an arrangement of “Swan Lake”. Liu’s technical perfection serves the music, never the reverse. Where some would want more virtuosic fireworks, Liu consciously chooses depth and reflection. A mature artistic choice that perfectly reflects the essence of Tchaikovsky’s lyricism. (Jan Vranken) (8/10) (Deutsche Grammophon)
