Album review overview: Nine Inch Nails, Lola Young 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.
Yasmine Hamdan – I remember I forget
Lebanese singer Yasmine Hamdan delivers a captivating album with “I Remember I Forget” that seamlessly weaves Arabic musical traditions with modern electronic elements. The album, featuring Arabic and English lyrics, is a personal journey through memory and identity. Tracks such as “Beirut” and “Ya Nass” showcase Hamdan’s hypnotising vocal delivery over subtle beats and traditional instruments. The production, handled by various collaborators, creates a dreamy atmosphere that takes the listener on a sonic journey through the Middle East. Hamdan’s voice, both powerful and fragile, becomes the perfect medium for telling stories of love, loss, and cultural identity. “I Remember I Forget” is an album that transcends cultural boundaries and touches universal emotions. It proves once again Hamdan’s position as one of the most innovative artists in the Arabic music scene. (Elodie Renard) (7/10) (Nettwerk Music Group)
Nine Inch Nails – Tron: Ares (Original Motion Picture Soundtrack)
Trent Reznor and Atticus Ross return to the world of “Tron” with the soundtrack for “Tron: Ares”, an album that perfectly fuses their signature industrial sound with futuristic soundscapes. The duo, known for their work on films such as “The Social Network” and “Gone Girl”, creates here a sonic universe that feels both dark and enlightened. Tracks like “The Grid” and “Digital Frontier” combine pulsating electronic rhythms with atmospheric textures that perfectly support the film’s cyberpunk aesthetic. The production is typically Nine Inch Nails: layered, complex, and emotionally charged. Whilst this is a film soundtrack, the album also works excellently as a standalone listening experience. Reznor and Ross prove once again that they are masters at creating immersive electronic landscapes that are both accessible and experimental. (Anton Dupont) (8/10) (Null Corporation)
Robert Plant – Saving Grace
Robert Plant proves with “Saving Grace”, his twelfth solo album, that at 77 years of age, he is still capable of artistic renewal. This album, recorded between 2019 and 2025 in the Cotswolds and along the Welsh Borders, is a collection of ten covers that Plant has worked out together with his band Saving Grace. The band, consisting of Suzi Dian, Oli Jefferson, Tony Kelsey, Matt Worley, and Barney Morse-Brown, brings a perfect balance between folk, country, and blues. Plant’s voice, once the powerful call of Led Zeppelin, has evolved into a nuanced instrument that can whisper as convincingly as it can scream. Tracks such as “It’s A Beautiful Day Today” show his ability to give familiar songs a completely new identity without losing their essence. The album emphasises Plant’s willingness to be a member of a collective rather than the dominant frontman, which results in an organic, warm sound that perfectly reflects his artistic curiosity. (Tobias Braun) (8/10) (Nonesuch Records)
Lola Young – I’m Only F**king Myself
The 24-year-old British singer Lola Young demonstrates her striking emotional maturity on her newest album, “I’m Only F**king Myself”, out now. The South London singer delivers a raw and personal work that arrives just over a year after her previous record. Produced by Manuka (Conor Dickinson and Will Brown) and Grammy winner SOLOMONOPHONIC, the album reflects a turbulent yet self-assured period. A graduate of the BRIT School, Young experiments with a variety of genres. After a spoken intro, “F**K EVERYONE” sets the tone with punky guitars, while “One Thing” stands out as a liberating statement on female autonomy. “SPIDERS”, with its ’90s indie influence, and the hopeful “Not Like That Anymore” count among the many highlights. Young’s voice carries a raw, emotional quality that sets her apart in the British pop landscape. The album addresses mental health, toxic relationships, and personal growth with rare honesty. The production balances modern pop with organic instrumentation, from bossa nova touches on “Penny Out of Nothing” to the soulful ballad “why do i feel better when i hurt you?”. It feels like a therapy session transformed into catchy songs – raw, confrontational, yet ultimately hopeful. (William Brown) (7/10) (Island Records)
Sarah McLachlan – Better Broken
After eight years of silence, Sarah McLachlan returns with “Better Broken”, an album that combines her characteristic introspective style with a more contemporary production. The Canadian singer-songwriter, known for classics such as “Angel”, shows that her songwriting talents remain razor-sharp. The title track “Better Broken” and “Crazy” demonstrate McLachlan’s ability to capture universal emotions in precise lyrics and memorable melodies. The production, handled by various producers including Luke Laird, gives the songs a warm, accessible sound without losing the intimacy that has always characterised McLachlan’s work. Although the album doesn’t have the emotional impact of her classic work from the nineties, “Better Broken” proves that McLachlan can still make relevant and moving music. It’s a welcome return for fans and a solid addition to her catalogue. (William Brown) (6/10) (Verve Forecast)
