Album review overview: Tame Impala, Ty Dolla $ign 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.
Darktribe – Forgotten Reveries
“Forgotten Reveries” is the fourth album by the French progressive power metal band Darktribe. Their philosophical lyrics address not only fear or loneliness, but also themes such as family, childhood, and life’s journey. The album starts very calmly. The build-up to metal is gradual, and the promising music almost acquires a cinematic quality. However, “Paradox” ends too abruptly (on the promo I received). Some other tracks end with a fade-out, but, for example, “Reality” fades out beautifully and slowly. At times, the tempo is quite high, occasionally at the expense of dynamics. The mix between classical-oriented sections, choral singing, and metal is good in itself, but the volume contrasts are too small. Moreover, the sound lacks warmth. Some songs contain surprises, yet there are also predictable elements. The choral singing is well integrated, and the guitar work has delightful riffs. “Forgotten Reveries” is an accessible album. (Esther Kessel-Tamerus) (7/10) (Scarlet Records)
Simon Popp – Trio
Bavarian percussionist Simon Popp specialises in polyrhythms, where two or more different rhythms are played simultaneously. Polyrhythms are complex to perform and perhaps even more difficult to listen to—let alone when executed by three drummers, as on “Trio”, the album on which Popp collaborates with Sebastian Wolfgruber and Flurin Mück. At its best, this album can be called a fascinating experiment. “Trio” revolves around the joy of playing, where imperfection is allowed and even celebrated. The drummers embrace the Japanese philosophy of ‘Kintsugi’, where cracks are not hidden but restored with gold. This metaphor reflects how the three musicians merge their different styles and temperaments into a single whole. Imperfection as a source of beauty, captured in eleven tracks where Popp, Wolfgruber, and Mück combine percussion with a wide range of materials and sounds: drums, woodblocks, temple bells, tuned gongs, and electronics. Anyone who keeps listening after the first tracks “Hain”, “OiOOiOiiOi”, and especially “Birkenschlag” deserves a medal. Fascination here does not outmatch endurance. (Jeroen Mulder) (6/10) (Squama)
Daddy Yankee – Lamento en Baile
On Friday, 17 October 2025, Daddy Yankee released his eighth studio album, titled “Lamento en Baile”. This is his first full album in almost three years and follows a period of personal reflection and public conversion to Christianity. The album features 19 tracks combining emotional depth with rhythmic energy and blending various styles of reggaeton and Latin pop. The lead single, “El Torque”, opens the album with a danceable beat and shows how Daddy Yankee weaves classic reggaeton elements with modern production techniques. Other tracks, such as “Baila Conmigo” and “Corazón de Oro”, offer a mix of intimate lyrics and rhythmic complexity, with electronic accents and percussion standing out. Filming a music video in South Korea underlines the artist’s international ambitions and cultural exchange surrounding the album. Furthermore, Daddy Yankee demonstrates his ability to share personal stories while maintaining an energetic atmosphere that invites the audience to move along. With “Lamento en Baile”, he strengthens his position in the Latin music scene and proves he can remain innovative after years of success without losing his signature style. (Elodie Renard) (8/10) (Universal Music Latin Entertainment)
Ty Dolla $ign – Tycoon
After a five-year hiatus, Ty Dolla $ign released his fifth studio album on 17 October 2025, titled “Tycoon”. The album features a mix of explicit, catchy R&B tracks and collaborations with artists such as Quavo, Juicy J, Travis Scott, YG, 2 Chainz, and Tyga. Notable tracks include the romantic single “All In” and “SMILE BODY PRETTY FACE”, a collaboration with YG and Kodak Black, exploring themes of personal relationships and self-expression. “Tycoon” combines energy and melodic hooks with introspective lyrics, while tracks like “Money Talk” and “No Filter” provide a robust rhythmic foundation. Ty Dolla $ign expands his influence through his label EZMNY, introducing new artists like Leon Thomas, highlighting his role as a mentor in the industry. The documentary ‘Still Free TC’, released simultaneously, offers a deeper look into his personal life and family challenges, including his brother’s incarceration. With “Tycoon”, he balances commercial appeal with artistic integrity, combining his distinctive voice with modern production and a grand sound. The album demonstrates his ability to weave contemporary R&B and hip-hop into a coherent whole that is both danceable and emotionally resonant. (William Brown) (8/10) (Atlantic Records)
Tame Impala – Deadbeat
Kevin Parker surprises on his fifth studio album with a full transformation into club psychedelia. After five years of silence, “Deadbeat” presents a collection of dancefloor tracks where guitars are replaced by synthesisers and house sounds. The opener, “My Old Ways”, sets the tone immediately with vulnerable lyrics about falling back into old patterns, while “Dracula” combines funky grooves with nocturnal seductions. The album, recorded in his home studio, Wave House in Australia, is inspired by bush doof culture and the Australian rave scene. Tracks like “Ethereal Connection” and “End of Summer” showcase Parker’s mastery in creating hypnotic rhythms, though some listeners may miss the rock elements. The production is impeccable with layered textures and subtle details, but the album feels less adventurous than previous works. Lyrically, Parker explores his inner struggles with self-mockery and vulnerability, treating raves as self-medication against everyday reality. Where “Currents” and “Lonerism” had breathtaking momentum, “Deadbeat” opts for a more measured, contemplative approach that does not always reach the euphoric highs expected from Tame Impala. (Norman van den Wildenberg) (7/10) (Columbia Records)
