Album review overview: AFI, Khalid 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.

Yarni – Anemoia

Sometimes you receive an album for review that you cannot possibly classify into a specific genre. Yarni, the stage name of English multi-instrumentalist Benjamin Harris, delivers with “Anemoia” an album on which virtually every style from jazz and pop music is featured, from disco to jazz and from soul to hip-hop. The opening “Neon Gods” is immediately an overwhelming piece due to the orchestral arrangement, but with an irresistible funk rhythm. It is one of the gems on the album, partly thanks to a host of guest musicians. Singer Scarlett Fae lends her vocal contribution to “Sunrise Sunset” and “S.W.A.L.K.” A golden choice, because it is precisely those vocals that give the tracks a delightful laid-back vibe, comparable to the addition of Oleta Adams to ‘Woman in Chains’ by Tears for Fears: it is the voice that gives the song its true soul. We are then long past wondering whether this is jazz or pop. On the contrary, we allow ourselves to be surprised by each track and are nowhere disappointed. Each song feels like a gift with the irrepressible urge to tear the wrapping paper to discover the next treasure. From “Silent City” with trumpet solo by James Atashroo, we hip and trip-hop through to “Natural Light” (with contributions from Franz Von and Jeff Darko) and “The Romantic Ghost” (with vocals by Plumm), to end with the closing afrobeat in “Nino”. In England, Yarni is already radio-ready. Which Dutch station will pick this up? (Jeroen Mulder) (8/10) (Yarni)

AFI – Silver Bleeds the Black Sun

Twelve albums into their career, the veterans of AFI venture on “Silver Bleeds the Black Sun” into a complete return to the roots of gothic rock. After years in which the band flirted with post-punk on “Bodies” and new wave on “The Blood Album”, Davey Havok and his cohorts now dive deep into the pure gothic sound of the eighties. Opener “The Bird of Prey” immediately sets the tone with grandiose drums and twelve-string acoustic guitars reminiscent of The Mission and The Cult. Havok evokes on “Behind the Clock” the vampiristic intensity of Bauhaus singer Peter Murphy, whilst “Holy Visions” sounds just as bombastic as Sisters of Mercy in their commercial heyday. The band has not completely abandoned the post-punk of their recent work, however. “Ash Speck in a Green Eye” is full of synth lines and dubby bass, and tracks such as “Voidward” and “I Bend Back” mix icy synths with guitar lines reminiscent of The Cure. Closer “Nooneunderground” is a nod to their punk rock roots and forms a surprising ending. With this album, AFI possibly deliver their best record in over ten years. (Anton Dupont) (8/10) (Rise Records)

Ledisi – For Dinah

With “For Dinah”, Grammy winner Ledisi delivers a loving tribute to the legendary Dinah Washington, one of the most influential jazz singers in history. The album was produced by jazz luminary Christian McBride and Ledisi’s regular collaborator Rex Rideout, and contains eight tracks that honour Washington’s legacy. Ledisi explains that Washington gave her the freedom to create and to be a female leader in music. The lead single, “This Bitter Earth” is a retelling of Washington’s 1960 hit, and Ledisi feels the pain and rejection contained in the song. The album also features a duet with Gregory Porter and performances by guitarist Paul Jackson Jr and rising star Michael King. For Ledisi, this is more than a musical salute; it is a thank-you letter from one powerful Black woman to another. The warmth and respect with which Ledisi approaches these songs make this an essential jazz album that puts Washington’s name back in the spotlight where it belongs. (Elodie Renard) (8/10) (Verve Records)

Say She She – Cut & Rewind

The disco trio Say She She return with their third album “Cut & Rewind”, a record that captures the past years on tour and in the studio. Piya Malik, Nya Gazelle Brown and Sabrina Mileo Cunningham describe it as an ode to strong women who carry on with what they are doing. The twelve irresistibly danceable tracks are full of nods to their musical muses, with a touch of life motto added. Single “Disco Life” tells the story of the infamous Disco Demolition Night in 1979, “Under the Sun” was inspired by the Hollywood Writers’ Strike of 2023 and the power of collective action, and “She Who Dares” depicts a dystopia in which women’s rights have been destroyed worldwide. Despite the urgent and politically charged messages, the music remains cheerful and funky. The trio prove that music can be both a means of protest and a balm in difficult times. “Cut & Rewind” is a party with a message, with the ladies proving that you can also be revolutionary with a smile. (Norman van den Wildenberg) (7/10) (Karma Chief Records)

Khalid – After the Sun Goes Down

Following his coming out as gay in November last year, Khalid returns with “After the Sun Goes Down”, his fourth studio album, released on his fortieth birthday. The singer describes this chapter as taking back his power, living in his truth and being able to express himself freely. The album explores themes such as love, self-discovery, openness and a refreshed freedom. The sixteen tracks form Khalid’s first release since “Sincere” from 2024 and reveal an artist who is comfortable with himself. Singles “In Plain Sight” and “Out Of Body” give a preview of the new sounds he explores, with a mix of R&B, soul and electronic elements. Khalid sings with newfound confidence about finding love and acceptance, both from others and from himself. It is a personal album that shows that the singer has finally found the space to be fully himself, without apologies or compromises. (Elodie Renard) (7/10) (RCA Records)