Album review overview: Jen Allen, Deftones and more

Dozens of new albums arrive at Maxazine’s editorial staff every week. There are too many to listen to, 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.

Jen Allen – Possibilities

Thinking in possibilities, making full use of one’s potential. That is the theme of this album by American jazz pianist Jen Allen. The album was primarily intended to be a reflection of her personal development. She evokes memories of the time when she was growing up, the eighties, by covering two of her favourite pop songs: Chaka Khan’s “Ain’t Nobody” and “Sweet Love” by Anita Baker. “Ain’t Nobody” was already released as a single earlier this year: an excellent choice, with starring roles for drummer Jonathan Barber and bassist Matt Dwonszyk, who give the track an irresistible drive. A virtuosic solo by guitarist Dan Liparini makes the number into a beautiful, original interpretation. The remaining numbers on “Possibilities” are her own compositions. In these, Allen proves herself to be a particularly versatile pianist and composer, at home in the diverse styles that jazz is rich in: from swing to more sustained, slower numbers. In the up-tempo opener “No Returning” she immediately presents her calling card in an engaging dialogue between her on the Rhodes and Liparini on acoustic guitar. Yet it is especially the vocals, alternately provided by much sought-after jazz vocalist Leala Cyr and soul singer Alejandra Sofia, that lift the album to greater heights. Allen’s own compositions feature, without exception, technically very challenging vocal lines, particularly in the slower pieces like “Red Oak” and the absolute gem on the album “Dissolve”. And how incredibly lovely the sound of such a Rhodes is. Has the potential been fully utilised? We believe there’s still more in the barrel. (Jeroen Mulder) (8/10) (Truth Revolution Records)

Jana Jindra – Home

An ambassador of the seas and true mermaid, that’s how Jana Jindra is described. Well, the stories go that mermaids would lure skippers onto the rocks with their singing. They couldn’t resist the temptation and went to see what the sound was, subsequently coming home empty-handed. That’s how the ‘mermaid pop’ on “Home” feels, too. It feels anything but like coming home. Particularly at the beginning of the record and on the opener “Blue”, it doesn’t sound pleasant to the ears. Now it gradually becomes somewhat more palatable with “The Coach”, which feels like a coherent song. Though here too it’s noticeable that the vocals aren’t very strong, particularly in the higher registers. The water effects throughout the numbers are quite nice, though. No, I think we can state with certainty that if Jana Jindra were on the rocks singing her new album to lure sailors, they would actually stay far away from the rocks. This is no Ariel. (Rik Moors) (4/10) (Own production)

Kathleen Edwards – Billionaire

Four years after the impressive “Total Freedom”, Kathleen Edwards returns with “Billionaire”, an album that feels like a complete rediscovery of her rock roots. Produced by Jason Isbell and Gena Johnson, Edwards shows herself more self-assured than ever, with numbers that feel both bigger and more personal. Where “Total Freedom” was about opening the door after a pause of nearly ten years, “Billionaire” is fully stepping through it, guitar in hand and ready for whatever comes. The album retains Edwards’ characteristic intimacy and honesty, but adds a new layer of rock energy that recalls her early work. The songs feel like conversations, where even the smallest details carry emotional weight. Edwards still refuses to sand away the rough edges, resulting in authentic compositions that are both vulnerable and powerful. This isn’t a reinvention or retreat, but a reorientation of an artist who knows exactly where she stands. (Anton Dupont) (8/10) (Dualtone Records)

Earl Sweatshirt – Live Laugh Love

Earl Sweatshirt surprises with his sixth studio album “Live Laugh Love”, an ironically titled project that further extends his experimental approach. The album lasts only 24 minutes spread across 11 tracks, with most numbers barely crossing the one-minute mark. This brevity creates an intense exposure to Earl’s unique lyrical style and production approach in a short time. The album contains contributions from an impressive list of guests, including Donald Glover, Vince Staples, The Alchemist, Bktherula, Navy Blue and even Dave Chappelle. The production combines experimental beats with unpredictable lyrical turns, with Earl further confirming his reputation as one of the most creative artists of his generation. The jazzy snippet that was shared before the release gives a foretaste of the unexpected directions the album takes. As with his earlier work, Earl shows he can effortlessly navigate between introspective moments and abstract lyrical experiments. (William Brown) (7/10) (Tan Cressida/Warner Records)

Deftones – Private Music

After the successful “Ohms” from 2020, Deftones return with a surprisingly intimate project that more than justifies the title “Private Music”. The album shows a different side of the Sacramento metal band, as they blend their characteristic heavy sound with more experimental and personal elements. Chino Moreno’s vocals float between whispers and outbursts, whilst the band explores how they can combine their wall of sound with more atmospheric passages. The production emphasises the dynamic between loud and soft, chaos and serenity, which has always been a core characteristic of Deftones’ best work. Songs move through different emotional landscapes, from meditative passages to explosive climaxes that fans will recognise. The album feels simultaneously like a return to their roots and a preview of uncharted territory. Stephen Carpenter’s guitar work remains inventive, whilst Abe Cunningham and Sergio Vega form a solid but flexible rhythm section that leaves room for Moreno’s vocal experiments. (Norman van den Wildenberg) (8/10) (Reprise Records)