Album review overview: Mac DeMarco, Blackbriar 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.

Mike Pope – The Parts You Keep

When it comes to bassists in jazz, there are essentially two categories: the revolutionaries who developed a new language in jazz and fusion, and the players who mastered and perfected that language. The first group includes greats like Jimmy Blanton and Charles Mingus on double bass, and Jaco Pastorius and Stanley Clarke on bass guitar. Mike Pope is subsequently one of those bassists who borrows the best from all the aforementioned icons and combines it into his own style, which he has already refined whilst working with the likes of Chick Corea and David Sanborn. Pope is a true master of tone and technique, and he demonstrates this on “The Parts You Keep”, an album that serves as a sort of tribute to his musical heroes. In virtuosic fashion, he breathes new life into classics by Parker and Coltrane, whilst fortunately keeping technique in service of musicality: “Steeplechase” by Parker and “Giant Steps” by Coltrane remain pleasant tracks to listen to, partly thanks to original drum arrangements by Nate ‘Kinfolk’ Smith. The album zigzags from pure jazz to more fusion-like pieces, such as “Barolo Blue” and “Dashan’s Flying Supercar”. But the real surprise is the title track in which he lets his earliest hero play the piano. That earliest hero is none other than his 85-year-old mother, Ann Almond Pope. She plays “Sphärenmusik from Winterreigen” by Hungarian composer Ernst von Dohnányi, which Pope cleverly follows with his own composition. Thus, the track forms a true bridge between childhood memories and the bassist that Pope is in 2025. Then you understand the image on the cover: that little boy listening at the top of the stairs to his mother at the piano. This album is worth it for that tribute to Mother Pope alone. A part to definitely keep. (Jeroen Mulder) (8/10) (Origin Records)

Nourished By Time – The Passionate Ones

Marcus Brown returns with his second album as Nourished By Time and once again manages to surprise with his unique melange of R&B, lo-fi indie pop and electronic funk. “The Passionate Ones” feels cinematic and absorbing, with Brown playing almost all instruments himself in the tradition of Prince and Dev Hynes. The album balances on the edge between romance and dystopia, with songs that float between vulnerability and strength. The production combines rubbery drum machines with neon synth sounds, with tracks like “BABY BABY” excelling in emotional clarity. Brown uses his music as a form of gentle resistance against the chaos of the world, attempting to forge and maintain connections with the things that make him happy. The result is an album that is both darker and more expansive than his acclaimed debut “Erotic Probiotic 2”, but in which the bleeding heart of a hopeless romantic still forms the centre. (Elodie Renard) (8/10) (Godmode)

Mac DeMarco – Five Easy Hot Dogs

After four years of musical silence, Mac DeMarco returns with an instrumental album that tells the story of an epic road trip from the west coast of California to New York City. “Five Easy Hot Dogs” is an unusual addition to his discography, with each of the fourteen tracks named after the city where it was recorded. The album functions as a sort of audio book of his journey through North America, with numbers like “Gualala”, “Portland”, “Vancouver” and “Chicago” each having its own character. DeMarco has deliberately chosen a restrained approach without his characteristic vocals, allowing the focus to lie entirely on the atmosphere and texture of his compositions. The production is deliberately lo-fi and laid-back, perfect for lazy Sunday mornings or moments of reflection. Although the album contains no real standout tracks, this is probably intentional; this is not a grand artistic statement but rather an intimate documentation of a personal journey. (Norman van den Wildenberg) (6/10) (Mac’s Record Label)

Blackbriar – A Thousand Little Deaths

The Dutch gothic metal ensemble Blackbriar delivers a masterpiece with their third full-length album that further confirms their reputation as storytellers. “A Thousand Little Deaths” is their most cinematic and orchestral work to date, with the band taking their characteristic dark fairytale-like approach to new heights. Singer Zora Cock excels with her expressive voice that effortlessly switches between fragile whispers and powerful outbursts, perfectly supported by the band’s rich arrangements. Singles like “The Fossilised Widow” and “Crimson Faces” convey the Victorian atmosphere that runs throughout the entire album, with themes such as love, loss and death being treated with elegance. The production by Nuclear Blast gives each track room to breathe, allowing the complex layers of gothic metal, folk influences and symphonic elements to come into their own. This album definitely positions Blackbriar as one of the most convincing acts in the gothic metal genre, succeeding in making their niche accessible without losing their artistic integrity. (Anton Dupont) (8/10) (Nuclear Blast)

Reinforcer – Ice And Death

“Ice And Death” is the second album by Reinforcer; these Germans make melodic power metal. The historical lyrics deal with subjects including the plague, witch persecution, and the Pied Piper of Hamelin. Logan Lexi sings the lyrics beautifully and powerfully. Several lines are stacked in a catchy way, which invites singing/roaring along. The two guitarists deliver brilliant guitar playing, and the bass is pleasantly present. Regularly, the strings sound nicely heavy. The drumming is catchy, but the drum heads seem rather tightly tuned. “Ice And Death” is about the Norse legend of Ymir, a giant born from ice and chaos. The difference between the nine numbers is not very great, but each song has more than sufficient tempo and volume changes. Occasionally, there is a short, lightly classical-oriented piece woven in. The touch of sampling in several intros fits the atmosphere and the lyrics, but could also have been present during the songs. Vocall,y this rousing album stands firm; moreover, the balance between rhythm and melody is very good. (Esther Kessel Tamerus) (8/10) (Scarlet Records)