Album review overview: David Byrne, The Hives 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.
Oleksandr Kolosii – Crossed Sounds
The Polish-Danish saxophonist Oleksandr Kolosii delivers convincing proof of his more mature sound with his latest album. After his praised albums “Multicoloured” and “Paws Up”, Kolosii now comes with his newest, supported by Alex Sipiagin on trumpet, Lorenz Kellhuber on piano, Makar Novikov on double bass and Donald Edwards on drums. The album shows Kolosii’s ability to mix bebop with Eastern European melodies and worldly rhythms. His tenor sax has a warm sound that honours the great hard bop masters, but with a contemporary edge that reflects his classical training. The collaboration with veteran Sipiagin proves particularly fruitful, with their two-part improvisations forming the heart of various compositions. Kellhuber’s lyrical and percussive piano approach creates space for Kolosii’s breathtaking solo work, whilst Novikov and Edwards form a versatile rhythm section. Although some experimental transitions feel forced and the album’s duration runs rather long, this remains a statement from an artist who has found his own voice within the jazz tradition. The album promises precisely what the title suggests: a crossing of influences that results in something new and valuable. (Norman van den Wildenberg) (8/10) (Alta Jazz Records)
Suede – Antidepressants
After more than three decades, Brett Anderson and co. prove that the Britpop gods are far from being sung out. “Antidepressants” sounds like the work of a band that both embraces nostalgia and faces the future, resulting in their most vital album since “Dog Man Star”. The title is no coincidence; this is an album about surviving, about finding light in darkness. Anderson’s voice has gained an extra layer of melancholy through the years that perfectly suits the mature songwriting. “Disintegrate” opens with familiar Suede drama but feels fresher than you’d expect from a comeback album. Guitarist Richard Oakes, now more than two decades in the band, has found his own identity alongside Bernard Butler’s legacy. His playing on “Trance State” combines the theatrical grandeur of classic Suede with subtle modern influences. The production by long-time collaborator Ed Buller gives the songs space to breathe without losing the characteristic intensity. “Sweet Kid” shows the band at their most vulnerable, with Anderson’s lyrics about parenthood and passing time. It’s a subject he approaches with a new sensitivity, far from the glam posturing of old. The album does have a tendency to sometimes fall too much into its own clichés. “The Silver Engine” feels like a repetition of earlier triumphs without adding new insights. But when everything clicks, as in the epic “Antidepressants” itself, Suede prove that their ability to transform personal pain into universal cathartic moments remains undiminished. (Anton Dupont) (7/10) (BMG)
Curtis Harding – Departures & Arrivals: Adventures Of Captain Curt
The Atlanta-born soul troubadour Curtis Harding has delivered an ambitious concept work with his fifth album that both honours his roots and explores new territories. “Departures & Arrivals” takes listeners on a psychedelic journey through different musical styles, all filtered through Harding’s irresistible retro-soul aesthetic. The album, largely recorded live, breathes an organic warmth that perfectly suits Harding’s storytelling ambitions. The concept of travel, both physical and spiritual, gives him the space to experiment with Afrobeat influences on “Lagos Boogie” and dub-reggae textures on “Kingston Departure”. The live setup ensures a cohesion that many concept albums lack. Each song flows naturally into the next, supported by his regular band who clearly know the songs inside and out. Bassist MonoNeon’s contributions are particularly remarkable; his melodic playing style gives even the heaviest soul workouts a modern edge. “Sister’s Love” shows Harding at his most personal, whilst “Funky Captain” shows him as the entertainer that makes his live shows so memorable. Although some conceptual segments feel rather long, Harding succeeds in making an album that works both as a whole and in parts. (Jan Vranken) (8/10) (Anti Records)
The Hives – The Hives Forever Forevers The Hives
After a long absence, the Swedish garage-rock terriers return with an album that proves their straightforward approach to rock ‘n’ roll is still more relevant than most hipster trends. “The Hives Forever Forevers The Hives” (the title alone is pure Hives arrogance) does exactly what you’d expect: 30 minutes of full-throttle rock without excuses. Opener “Bogus Operandi” goes full-out immediately, with Pelle Almqvist’s irresistible frontman charisma and that characteristic twin-guitar attack from Vigilante Carlstroem and Dr. Matt Destruction. The production wisely keeps to the background; this is rock music that lives off the energy of the performance, not studio tricks. The album is carried by its directness; no song exceeds four minutes, no arrangement is more complex than necessary. “Stick Up” is two and a half minutes of pure adrenaline, whilst “The Bomb” shows they still know how to write a perfect stadium sing-along. Although the formula sometimes feels predictable, that’s precisely the point. In a time of overproduction and digital manipulation, The Hives sound like a fresh wind from a time when rock ‘n’ roll was still dangerous and spontaneous. Their timing is perfect; after years of indie preciousness, their uncomplicated approach feels refreshingly modern again. (Jan Vranken) (7/10) (Disque Hives)
David Byrne – Who Is The Sky?
The 73-year-old David Byrne proves with “Who Is The Sky?” that age is merely a number. His first solo album since “American Utopia” (2018) is a cheerful, philosophical stroll through modern life, recorded with the 15-piece Ghost Train Orchestra. The album begins with “Everybody Laughs”, a cheerful treatise on the universal human experience: “Everyone lives, dies, laughs, cries”. Byrne’s characteristic curiosity about daily life is evident from titles like “My Apartment Is My Friend” and the hilarious “Moisturizing Thing”, in which he asks whether it’s possible to use too much moisturiser. Musically, Byrne moves between accessible pop and avant-garde experiments. Hayley Williams (Paramore) adds her voice to “What Is The Reason For It?”, whilst Tom Skinner from The Smile contributes African percussion. The arrangements by Ghost Train Orchestra give each track a warm, cinematic quality. “The Avant Garde” is a playful jab at his own reputation, in which he admits finding the concept amusing but not really understanding it. This self-mockery makes the album accessible, even when the music becomes experimental. Byrne remains a master at finding joy in chaos. (Elodie Renard) (9/10) (Matador)
