Album review overview: Portugal. The Man, Rosalía 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.

Bananagun – Why is the Colour of the Sky?

Four years after their lockdown debut, the Melbourne collective returns with an album that swaps the clever sunshine-pop and afrobeat of “The True Story of Bananagun” for looser, more experimental terrain. Recorded in minimal takes on vintage analogue equipment at Button Pusher Studio, “Why is the Colour of the Sky?” reflects the turbulent period the band went through during Australian lockdowns and personal changes. Opener “Brave Child of a New World” immediately sets the tone with rough drums, hazy guitars, bursts of flute, and harmonised vocals in a living cacophony of melody. “Children of the Man” combines Velvet Underground-like rhythms with afrobeat, while “Feeding the Moon” is an instrumental adventure with jazzy chords and absurd time changes. The band is clearly inspired by spiritual jazz, Tropicalia, and zamrock, though the psychedelic character sometimes creates unnecessary hurdles. “Free Energy” has a fantastic groove, and the two-part closer “Wonder” is impressive in its fusion-like approach. The album feels less polished than the debut, but that roughness and freedom make it a bold and inventive work, showing that Bananagun is unafraid of exploring new musical territories. (Anton Dupont) (7/10) (Full Time Hobby)

Lars Fredrik Frøislie – Quattro Racconti

In 2023, Wobbler’s keyboardist Lars Fredrik Frøislie released “Fire Fortellinger”. Now, a special version of this debut is out. On “Quattro Racconti,” Stefano “Lupo” Galifi (Museo Rosenbach) sings. Two of the four tracks are epics over 16 minutes long. In the first, “Il Cavaliere dell’Apocalisse,” there are countless twists. Due to my limited knowledge of Italian, I understand little of the lyrics, but Stefano sings with conviction. The emotion is also audible in the music. “Un Posto Sotto il Cielo” is a varied track with a slightly dull fade-out. “Presagio” contains pleasantly abundant retro organ play. The vocals in “Cattedrale della Natura” sometimes verge on being too intense, but the dynamic changes are impressive. The album also has psychedelic influences and folk elements. You hear flute sounds and acoustic string instruments. There are contrasts between low (bass) tones and high (electronic) keyboard sounds. The drumming is commendable, but the keyboard work is especially varied. “Quattro Racconti” is a recommendation for fans of complex (retro) prog rock. (Esther Kessel-Tamerus) (8/10) (Karisma Records)

Brandon Sanders – Lasting Impression

You only get one chance to make a strong first impression, and drummer Brandon Sanders understands this perfectly. “Lasting Impression” opens with the powerful “8/4 Beat,” featuring a truly extraordinary vibraphone solo by Warren Wolf. But what really stands out is the lightness of the groove Sanders establishes. Complex rhythms are played, yet Sanders makes them sound fluid, almost floating, while never losing sight of the drummer’s purpose: providing a steady swing so other musicians can confidently take the stage. Vocalists like Jazzmeia Horn enrich two tracks with pure soul. One of these is Gershwin’s “Our Love is Here to Stay”: with a warm, deep sound and occasional rough edges, Horn delivers a masterclass in interpreting the American songbook. She also performs the closing track, Stevie Wonder’s “Until You Come Back To Me (That’s What I’m Gonna Do)”: after pure jazz pieces like “Tales of Mississippi” and “No BS for B.S.” (Wolf outplays everyone on vibraphone), the album ends with a track that could succeed even outside jazz circles. Our advice: release it as a single. Absolutely radio-ready, Sanders proves himself not only an outstanding drummer but someone who knows what the broader audience wants to hear and can reach beyond the jazz scene. Let’s hope it leaves a lasting impression. (Jeroen Mulder) (8/10) (Savant Records)

Rosalía – Lux

“Lux” is an ambitious album by Catalan star Rosalía, decisively moving away from the traditional pop structures of her previous work “Motomami” and taking a darker, orchestral path. The album, demanding deep focus from the listener, features lyrics in thirteen languages, including Catalan in “Divinize” and Italian in the ballad “Mio Cristo Piange Diamanti/My Christ,” highlighting the universal and spiritual journey of the music. Her voice is more powerful and less processed than before, effortlessly shifting between intimate whispers and lyrical, almost operatic highs, as in the single “Berghain”. Collaborations with the London Symphony Orchestra and guest artists like Björk create an unusual, layered soundscape blending classical elements with electronic experiments. “Lux” is not for easy listening but rather an artistic, bold project confronting the listener with the essence of humanity and vulnerability. It is a rare example of pop music fully transcending genre boundaries. (Elodie Renard) (9/10) (Columbia/Sony Music Latin)

Portugal. The Man – SHISH

Portugal. The Man return to their independent roots with ‘SHISH’, a compact yet powerful tenth studio album released on their own KNIK imprint following their departure from Atlantic Records. All ten tracks are named after locations in Alaska and explore themes of survival, family and connection to the place that shaped the band. Opener ‘Denali’ combines grunge guitars with synthpop choruses and psychedelic outros, with multiple genres flowing seamlessly into one another. The chaotic hardcore of ‘Pittman Ralliers’ stands in stark contrast to the melodic indie pop of ‘Knik’, whilst ‘Mush’ explores rural life and danger with the repeated lyric ‘we can be family’ as a statement against isolation. The album is produced by John Gourley and Kane Ritchotte in a home studio environment that gave them freedom to experiment. ‘Tanana’ offers an emotional highlight with strings, where grief and hope come together whilst the world burns. This is not a radio-friendly follow-up to ‘Feel It Still’, but a conscious choice for artistic authenticity over commercial success. (Anton Dupont) (8/10) (KNIK/Thirty Tigers)