Album review overview: Ludovico Einaudi, Earl Sweatshirt and more

Photo (c) Jorge Fakhouri Filho

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.

Ludovico Einaudi & Leo Einaudi – Einaudi Vs Einaudi

The collaboration between father Ludovico and son Leo Einaudi results in a surprisingly intimate reworking of the successful “The Summer Portraits”. Leo has transformed eight tracks from his father’s 13th number one album into a personal journey through memories of summer moments. The production combines Ludovico’s characteristic minimalist piano approach with Leo’s more modern electronic textures. On numbers like “Rose Bay (Reworked)”, driving rhythms penetrate the original silence, whilst “Pathos (Reworked)” reveals new layers of youthfulness. The synthesis between both generations of Einaudi creates a natural chemistry that never feels forced. The album succeeds in preserving the original spirit of the compositions whilst simultaneously offering a fresh interpretation. For those familiar with “Nuvole Bianche”, the approach will be recognisable but renewed. The 34-minute journey feels like an intimate concert between father and son, where personal memories and artistic vision merge into something that transcends both generations. (Jan Vranken) (8/10) (Decca Records)

Earl Sweatshirt – Live Laugh Laugh

Earl Sweatshirt proves with his fifth studio album that happiness need not come at the expense of artistic depth. After years of introspective darkness, this 24-minute release shows a rapper who has found peace with fatherhood, marriage and adulthood. The ironic album title turns out to be genuinely meant. Musically, Earl remains true to his characteristic abstract hip-hop style, with Theravada and Black Noi$e delivering hypnotic, dusty beats. On “Static”, he sounds hungrier than in years, whilst “Crisco” explores his new role as a father. The production ranges from funk-driven openers to dreamy soundscapes that reflect his evolving state of mind. Textually, Earl shows a refinement that only comes with genuine personal growth. For fans who know him from depressive classics like “I Don’t Like Shit, I Don’t Go Outside”, this album offers proof that optimism can also be part of his artistic palette. Those who appreciated “Grief” or “Solace” will experience this as a welcome evolution. (Elodie Renard) (9/10) (Tan Cressida/Warner Records)

Pino Palladino & Blake Mills – That wasn’t a Dream

The second collaboration between bass guitar legend Pino Palladino and producer-guitarist Blake Mills proves that instrumental music can still tell emotional stories. This seven-track journey combines acoustic instruments with electronic manipulations into a fascinating soundscape. Album opener “Contour” immediately sets the tone with a 5/8 ostinato on nylon-string guitar, whilst “I Laugh in the Face of the Lion” shows Palladino’s rare playing on upright bass in a bossa nova setting. Guest musician Sam Gendel adds extra textural layers with his processed flute and saxophone that lead the whole into unexpected territories. The almost fourteen-minute “Heat Sink” forms the epicentre of the album, where Palladino’s stoic bass line is surrounded by synthesiser clusters. Their interplay feels effortless despite the musical complexity. For lovers of D’Angelo’s “Voodoo” (on which Palladino also played), this album offers an equally rich but more experimental experience. (Jan Vranken) (8/10) (New Deal/Impulse! Records)

Essex Honey – Blood Orange

After seven years of silence, Devonté Hynes returns with his most personal “Blood Orange” album. “Essex Honey” emerged during grief processing after his mother’s death, with Hynes reflecting on his youth in Essex and music as comfort. This fifth album deliberately chooses intimacy over danceable funk. Musically, everything revolves around piano, supplemented by cello, soft breakbeats and organic instrumentation. The guest list—Caroline Polachek, Lorde, Daniel Caesar, and Mustafa—forms a private orchestra that supports Hynes’ vision. Highlight “The Field” combines Polachek’s enchanting vocals with drum ‘n’ bass elements, whilst “The Last of England” incorporates family sounds from a final Christmas. Some numbers fall into too much seclusion, causing the second half to lose some accessibility. Nevertheless, the album offers fans of the melancholic beauty of “Charcoal Baby” an equally moving but more contemplative experience. (Anton Dupont) (8/10) (RCA Records)

Myd – Mydnight

After four years of waiting, French producer Myd returns with his second album “Mydnight”, a dancefloor-oriented evolution that leaves his Ed Banger DNA intact. Born from three years of intensive touring and DJ sets worldwide, this album marks a conscious shift towards more club-oriented energy without losing his characteristic warmth and humour. The story behind the creation is already legendary: when Myd lost his hard drive, he locked himself in his studio for a week and streamed the entire creative process live on Twitch. This chaotic origin translates into an album that seamlessly merges house, funk and pop. Highlight “All That Glitters is Not Gold” shows Myd at his strongest, with Channel Tres and Trueno in a bass-heavy collaboration that works perfectly in both the club and your headphones. “The Wizard” confirms his flair for converting dancefloor energy into quirky pop, whilst “Song for You” shows his more sensitive side. For lovers of his viral hit “The Sun”, “Mydnight” offers a more mature but accessible version of that sunny electronic magic, now with more BPM and less introversion. (Elodie Renard) (7/10) (Ed Banger Records/Because Music)

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