Album review overview: Lily Allen, Radiohead 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.

Aviana – Void

Gothenburg, Sweden, is primarily known in the music world for the death metal scene that emerged there in the early nineties. One of the most prominent bands from that era is In Flames. Aviana also hails from the city but delivers a different kind of intensity. Although they are described as alternative metal, their music is mainly metalcore, a style currently enjoying considerable popularity. The band was formed in 2016, but a year later, none of the original members remained. Joel Holmqvist is now the frontman, supported by three masked band members in the style of Ghost. The new album “Void” hits hard, despite the relatively calm instrumental opening track. As mentioned, this style is very popular, and it remains to be seen whether this record will stand out. For some, it may be slightly too extreme. That it delivers energy is beyond doubt. (Rik Moors) (7/10) (Arising Empire)

Metejoor – 3

Flemish singer Metejoor releases his third album, titled “3”, representing three phases of his life and three different moods. Following earlier hits like “Wat Wil Je Van Mij” and “1 Op Een Miljoen”, he now opts for a grander sound with more guitars and a stadium-like atmosphere in the tradition of Coldplay and U2. The album features twelve tracks, including previously released singles “Te Waar Om Mooi Te Zijn” and “Stuk”, exploring themes of despair, hope, and joy in life. Metejoor deliberately pushed his vocal range for this album and tailored the music to reflect the band’s live sound, with powerful arrangements and emotional depth. The production is grand and polished, with traditional instruments like guitar and piano at the centre, enhanced by modern production techniques. The album reflects Metejoor’s personal journey from a difficult period to a happy present, in which his relationship with Celine Van Ouytsel plays an important role. For fans of Dutch-language pop with international flair, this is a refreshing and accessible album offering both radio hits and deeper emotions. (Anton Dupont) (7/10) (Mostiko)

Lily Allen – West End Girl

Lily Allen returns after seven years with “West End Girl”. The album tells the story of a breakup and reflects her emotional transformation. Tracks like ‘Harbour’ and ‘Crossroads’ feature her characteristic lyrics, exposing her feelings. The music alternates between electronic pop, distinctive British influences, and introspective moments. Allen avoids embellishment, adopting a direct tone that makes the album honest and intimate. Production work from the likes of Chrome Sparks and Jason Evigan delivers a modern sound without overshadowing her vocals. While the tempo could have varied more at times, the consistency in mood and emotion more than compensates. “West End Girl” is not a cheerful comeback but a mature record in which Allen asserts her signature style anew. (William Brown) (8/10) (BMG)

Soulfly – Chama

Max Cavalera and his sons deliver one of their heaviest and most focused releases in years with the thirteenth Soulfly album. Produced by drummer Zyon Cavalera, “Chama” sounds raw and biting, with an industrial edge reminiscent of Nailbomb and Godflesh. Clocking in at just thirty-three minutes, the album is full of tribal grooves, raging riffs, and Max’s relentless snarling vocals. The opener “Storm the Gates” immediately sets the tone with its aggressive energy, while tracks like “Ghenna” and “Favela/Dystopia” address social issues that have long mattered to Max. Guest contributions from Fear Factory’s Dino Cazares, Nails’ Todd Jones, and Arch Enemy’s Michael Amott add extra depth. The mix of metal and indigenous influences is more pronounced than ever, with “Indigenous Inquisition” paying tribute to eradicated tribes and the title track providing a powerful finale. While the production occasionally sounds a little muddy and not all tracks are equally strong, “Chama” proves that Soulfly remains relevant and hungry after nearly thirty years. (Anton Dupont) (8/10) (Nuclear Blast)

Radiohead – Hail to the Thief (Live Recordings 2003-2009)

Radiohead revisits their controversial sixth album with a collection of live recordings from Dublin, Amsterdam, London, and Buenos Aires between 2003 and 2009. The band has condensed the album to twelve tracks by omitting “Backdrifts” and “A Punch Up at a Wedding”, creating a more focused experience. Thom Yorke rediscovered these recordings while working on the theatre production Hamlet Hail to the Thief, and was surprised by the energy the band displayed at the time. The live versions transform the studio recordings into something more intense and cathartic, with “2+2=5”, “There There”, and “Myxomatosis” gaining extra power. Ed O’Brien’s textural guitar work and backing vocals give Yorke the freedom to experiment vocally, while Jonny Greenwood’s mastery shines across several tracks. Production by Ben Baptie and mastering by Matt Colton are excellent, capturing the raw energy of the shows without losing intimacy. For a band with so few official live releases, this is a welcome addition, demonstrating why Radiohead had a legendary live reputation in the 2000s. (William Brown) (8/10) (XL Recordings)