Album review overview: Starsailor, Yellowcard 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.
Roufaida – Coming Up For Air
Singer Roufaida Aboutaleb returns with her debut album following her 2023 EP “Roufaida”. With “Coming Up For Air”, she takes a further step in exploring identity and societal pressures. Her North African signature is accompanied by afrobeat and indie alternative, creating a rich layering that never feels forced. The title track “Coming Up For Air” forms the emotional core of the album, where she and Nina Sampermans convey how urgent social issues such as xenophobia and exclusion can be suffocating. Wannes Salomé’s production gives her voice room to breathe between guembri sounds and modern electronic elements. This is music that resists easy categorisation, drawing strength from her ability to bridge traditions. Roufaida proves herself as an independent voice, translating the poetic legacy of poets like Nizar Qabbani into a contemporary context without losing expressive power. (Elodie Renard) (8/10) (Independent production)
Starsailor – Starsailor with Strings: Live from Liverpool
After 25 years as a band, Starsailor decided to mark their anniversary with a special statement: their first official live album. Recorded at the prestigious Tung Auditorium of the University of Liverpool, the British band’s songs receive an orchestral treatment thanks to string arrangements by Joe Duddell, known for his work with Elbow and James. It is a bold concept requiring courage, which Starsailor executes brilliantly. The career-spanning setlist shows the versatility of James Walsh and his companions. The strings elevate classics like “Four to the Floor” and “Good Souls” to new heights without losing the raw energy of the original versions. Notably, the live debut of “Hard Love”, which, according to the band, had never been performed live, let alone with a full orchestra, succeeds impressively. Walsh’s voice, always the band’s secret weapon, shines even more in this intimate setting, especially during the piano-led “Restless Heart”. It is not a revolutionary album but a beautiful document of a band that, after a quarter century, still knows how to move audiences without falling into nostalgia. (William Brown) (7/10) (East West Records)
Anmol Mohara – Across the Sea
An ‘original soundtrack’, reads the subtitle. The album immediately evokes film music, and after the first listen, it is clear why. Percussionist Anmol Mohara delivers an impressive debut with “Across the Sea”, combining traditional Nepali instruments with modern jazz. Mohara spent six years in Nepal mastering traditional percussion techniques before fully dedicating himself in London to producing “Across the Sea”. The heart of the album is formed by three pieces inspired by folk music and stories: “Sakhiye Ho”, “Silu” and “Sorathi”. These pieces have clear traditional roots but feature surprises like electric guitar on “Silu” and tasteful piano and flute improvisation on the nine-minute spoken word epic “Sorathi”, the standout track of the album. This somewhat overshadows the beautiful, emotional “Migrant”, a pure jazz track with vocals by Tereza Catarov. The tracks are interspersed with short soundscapes Mohara calls ‘scenes’. Some transitions feel abrupt or misplaced, yet the album remains a valuable addition to modern jazz and world music fusion. (Jeroen Mulder) (7/10) (Lonma Records)
Yellowcard – Better Days
After nine years, Yellowcard returns with “Better Days”, proving that a comeback can be meaningful. This is their first full-length album since 2016, and it sounds both comfortingly familiar and refreshingly new. With executive producer Travis Barker on drums, every track feels powerful and purposeful. Songs like “Take What You Want”, “Love Letters Lost” and “Honestly I” pick up where “Ocean Avenue” left off, full of energy and catchy hooks. Violinist Sean Mackin again plays a key role, especially on “Honestly I” and the closing track “Big Blue Eyes”. Guest spots from Matt Skiba on “Love Letters Lost” and Avril Lavigne on “You Broke Me Too” add texture, although Skiba’s voice could have been more prominent. The midsection offers breather moments with “You Broke Me Too” and “City of Angels”, touching on the band’s more experimental “Lift a Sail” era. Tracks like “Barely Alive” show the band still dares to explore depth. At just thirty minutes, “Better Days” feels compact and focused, a mature pop-punk album without cynicism, from musicians confident in their identity. (Anton Dupont) (9/10) (Better Noise Music)
anaiis – Devotion & The Black Divine
London label 5dB Records releases the second album from neo-soul artist anaiis with “Devotion & The Black Divine”, a work that shows her mature artistic vision. The produced tracks feature influences from vintage soul, gospel, jazz and reggae, with songs like “Deus Deus” presenting relaxed grooves with soft-edged production. Together with collaborator Josh Grant, anaiis uses live instruments, particularly strings, giving the album a rich and lively feel. Her voice is the outstanding instrument, with every choice from syllabic phrasing to note selection feeling unexpectedly perfect. Her honeyed soprano acts as a healing balm on some of the most beautiful melodies. She demonstrates remarkable mastery over her voice, with production integrating innovative synth and electronic elements seamlessly. This album represents a maturation of anaiis’ best creative impulses in a cohesive sonic world. (Elodie Renard) (8/10) (5dB Records)
