Album review overview: Michael Schenker, Doro 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.
Fergus McCreadie – The Shieling
Space. Silence. That was what Scottish pianist Fergus McCreadie needed to create “The Shieling”. Recorded in a remote cottage, surrounded only by nature and the elements. You can hear that in the compositions on this album, although the first notes make your heart skip a beat: for a moment, it seems it might drift into new age tinkering, but then McCreadie’s piano appears. The first thing you notice is the sound of the piano itself, as if we are standing in the cottage ourselves. During the restrained passages, you can imagine hearing the wind blowing around the cottage: the wind carrying melodies from the Atlantic Ocean and guiding us to the overwhelming calm of Uibhist a Tuath, one of the islands in the Outer Hebrides. It is the calm and the space that elevate the trio around McCreadie, with bassist David Bowden and drummer Stephen Henderson, to great creative heights. Highlights are the lyrical “Wayfinder” and “The Path Forks”, in which McCreadie combines contemporary jazz improvisation with motifs derived from folk music, the trademark of this young pianist. “The Shieling” is an honest album that leaves you in awe. Perhaps it is time to book a cottage on one of the Scottish islands. (Jeroen Mulder) (8/10) (Edition Records)
DUFFHUES – It has no Face
“It has no Face”, the eleventh album by DUFFHUES, is now online and reveals the darkest sides of the former frontman of The Gathering. The deliberately gritty album contains eleven songs, each telling a story of a world filled with melancholy, manipulation, and existential questions. In “Theatre Off Grid” and “Snakebitten”, themes such as mainstream culture and religious fanaticism are addressed, while the title track “It has no Face” creates a post-punk calypso atmosphere with blues, electric guitars, Irish bouzouki, stompbox, and crackling vocals. Tracks like “Warmonger” and “Dark Powers” deal with warmongers and despots, while “Cat in Box” and “Many Lights” reflect on human behaviour and mortality. The production is raw and unpolished and largely recorded in mono, giving the songs sharpness and urgency. DUFFHUES combines atypical song structures with personal lyrics and an artistic vision, making “It has no Face” an intense and intriguing listening experience. The album demonstrates his fidelity to punk roots, grungy blues, and anti-folk noir, without conforming to conventions. (Norman van den Wildenberg) (8/10) (Zwarte Vleugels/Sonic Rendezvous)
Michael Schenker Group – Don’t Sell Your Soul
The Michael Schenker Group released their latest studio album, titled “Don’t Sell Your Soul”. This album forms the second part of a trilogy, following the earlier “My Years With UFO”, and contains eleven new tracks showcasing a mix of classic hard rock and modern influences. Singer Erik Grönwall, known from Skid Row and H.E.A.T., provides the main vocals, while guest vocalists Robin McAuley, Dimitri ‘Lia’ Liapakis, and Michael Voss add extra dimensions to the vocal arrangements. The opening track, “Don’t Sell Your Soul”, starts with a powerful riff and a melody that immediately grabs attention. Songs like “Danger Zone” and “Eye Of The Storm” demonstrate how Michael Schenker’s guitar work takes centre stage, with dynamic arrangements that fully exploit the band’s energy. The album’s production is clear and sharp, allowing each instrument to come through distinctly, with a carefully balanced mix between vocals and instruments. While the album is not radically innovative, it offers a solid collection of tracks appealing to both existing fans and new listeners. The compositions are consistent and well-structured, combining guitar tones, rhythm section, and vocals to create a rich, full sound. The album shows the band remains true to their hard rock roots while allowing room for expression and subtle stylistic variations. (Tobias Braun) (8/10) (earMUSIC)
Brandi Carlile – Returning to Myself
American singer-songwriter Brandi Carlile returns after four years with “Returning to Myself”, an album in which she attempts to rediscover her own uniqueness while processing the deep impact of significant people in her life. Sonically, producers Aaron Dessner, Andrew Watt, and Justin Vernon moved further away from Americana towards a backdrop of keyboards and synths, supported by beautiful acoustic guitar work. The title track serves as a statement setting the tone for what follows, both lyrically and sonically, with Carlile singing about the lonely process of returning to oneself over guitar. The album was developed after four years of high-profile collaborations, during which Carlile revitalised Joni Mitchell’s career and recorded an album with her hero Elton John. Highlights include the parent-child anthem “You Without Me”, the beautiful “Joni” in which every line is about Joni Mitchell, and “Church & State”, which rocks with more intensity than almost anything she has previously done. The album ultimately reveals its title as beautifully ironic, as Carlile’s inward journey directly connects back to others, confirming her belief that we find ourselves most fully in connection rather than isolation. (William Brown) (8/10) (Interscope)
Doro – Warriors Of The Sea
German metal queen Doro Pesch presents “Warriors Of The Sea”, a compilation album featuring five new studio tracks and five live tracks from her 2024/25 tour. The album was inspired by the success of two sold-out Metal Queen Cruises, with the title track quickly becoming a live favourite, serving as both the anthem of the cruise and a festival highlight. The opening track “Warriors Of The Sea” bursts in with crashing waves and choral ahhs as Doro’s unmistakable voice weaves around the pounding guitars in this anthemic track. Doro takes on Australian favourites and covers AC/DC’s “Touch Too Much”, where her rough tone fits the track like a glove. The second part of the album contains five live tracks from recent tours, with energetic songs like “Fire In The Sky” and “Revenge” going full throttle and perfectly capturing the excitement of Doro live. A special highlight is the version of “Warriors Of The Sea”, a true Doro anthem demanding fists in the air, head back, and roaring along with the chorus. The album confirms that after decades, Doro still delivers horns-up heavy metal like no one else. (Anton Dupont) (7/10) (Rare Diamonds)
