Album review overview: Stargazers, Opeth 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.
Stargazers – Stargazers
Amsterdam-based Stargazers deliver one of the most intriguing jazz releases of the year with their self-titled debut EP. Saxophonist, flautist and composer Finn Peters digs deep into the jazz tradition of the sixties and seventies. It is the kind of jazz that enthusiasts prefer to spin on vinyl: the crackles, pops and the needle’s hiss in the groove belong to this music as naturally as black belongs to Dutch jazz-legend Jules Deelder, and that name is not chosen lightly. Even as a Rotterdammer, Deelder would absolutely have appreciated this, because Finn honours pure jazz so wholeheartedly and recorded it with a six-piece line-up in a single direct-to-disc take. No overdubs or corrections, allowing you to feel the musicians’ tension. It makes Stargazers honest and sometimes almost uncomfortably intimate. One of the highlights is ‘Clifford Jordan’, a gorgeous homage to the legendary tenor saxophonist who made his mark with Art Blakey, Charles Mingus and Max Roach. The influences are audible yet subtle. Pay particular attention to the rhythm section formed by drummer Yoran Vroom and his brother Yariv Vroom on percussion: already dubbed masters of the groove by the programme ‘Het Uur van de Wolf’, and one of the reasons why this Stargazers is such a promising prospect for the future. (Jeroen Mulder) (8/10) (Stargazers)
Riffstone – Sanctuary Sky
The British progressive rock project Riffstone consists of multi-instrumentalists and vocalists Dave Allen and Colin Powell. The atmosphere of their melodic, symphonic soundscapes fits the lyrics, which deal with subjects such as mythology and human emotion. Their inspiration comes from bands like Big Big Train, Alan Parsons Project and, vocally in particular, Yes. This is reflected in the distinctive, at times high-pitched vocals, which are frequently layered. During vocal sections, the music is usually softer, matching the colour of the sometimes monotone singing and the particular vocal approach. The wordless, feminine-sounding vocals are well integrated. The rocking, faster passages are mainly instrumental. The sound of the “percussion” varies: especially in the rhythmic parts, it is too clinical. During various breaks and the intro of ‘Tylwyth Teg’, the sound is solid. There is plenty of variation in keyboards and guitars, and the bass is pleasantly present. The balance between these elements is excellent. Some transitions unfold gradually, while other instrumental shifts in tempo, volume and atmosphere are quite dramatic. Riffstone’s own signature is clearly audible on “Sanctuary Sky”. (Esther Kessel-Tamerus) (7/10) (Independent Release)
Opeth – The Last Will & Testament
After five years of silence, Opeth return with their fourteenth studio album and reintroduce the death growls that have been absent since “Watershed”. “The Last Will & Testament” is conceived as a concept album revolving around the reading of a will in the 1920s, with Jethro Tull’s Ian Anderson serving as narrator and also contributing flute solos. The seven paragraph-numbered tracks form a continuous narrative in which Mikael Åkerfeldt’s renewed harshness fits perfectly with the gothic atmosphere. Opener ‘§1’ immediately reveals the band’s intentions, alternating melodic passages with sheer brutality, supported by strings arranged by David Stewart. New drummer Waltteri Väyrynen demonstrates his craftsmanship with complex rhythmic patterns that follow Åkerfeldt’s shifting song structures flawlessly. ‘§2’ contains some of the strongest riffs Opeth have written in years, with organ tones reminiscent of Pink Floyd’s “Zabriskie Point”. Although the album sounds heavier than the recent progressive rock records, it remains a natural extension of “In Cauda Venenum” with added metallic bite. ‘§5’ shows how the band weaves jazz influences into death metal without it feeling forced. The closing track, “A Story Never Told,” is a beautiful piece of folk-tinged prog, where Åkerfeldt’s clean vocals shine above acoustic guitars and Anderson’s flute. With this album, Opeth prove that they can honour their past while continuing to move forward artistically. (Anton Dupont) (9/10) (Reigning Phoenix)
Juice WRLD – The Party Never Ends
Juice WRLD’s fifth and final posthumous studio album closes a chapter that ended prematurely with his tragic passing in 2019. “The Party Never Ends” presents eighteen tracks in which the rapper’s distinctive emotional vulnerability is interwoven with collaborations featuring Nicki Minaj, Eminem and Fall Out Boy. The opening track immediately sets the tone with a blend of melancholy and bravado, marked by producer Benny Blanco’s unmistakable touch. Tracks such as ‘AGATS2’ and ‘Lace It’ show Juice’s ability to transform painful themes of addiction and mortality into catchy melodies, although some songs feel more like unfinished sketches than fully formed compositions. The production ranges from Nick Mira’s characteristic piano loops to Metro Boomin’s heavier beats, but it frequently lacks the cohesion that defined his earlier work. The Kid Laroi’s contribution, ‘Goodbye’ forms a moving highlight, while the collaboration with Fall Out Boy on ‘Best Friend’ sits awkwardly between emo-rock and trap. The album struggles with the same question that shadows all posthumous releases: whether the music is being issued for artistic reasons or commercial ones. Despite these doubts, Juice’s voice remains a unique force in contemporary hip hop, his vocal lines effortlessly shifting between rap and melodic phrasing. (Norman van den Wildenberg) (6/10) (Grade A/Interscope)
Ian Shaw – Stephensong
The Shakespeare of the musical: that is the nickname of Stephen Sondheim. His most famous work is undoubtedly “West Side Story”, with Sondheim’s lyrics accompanying Leonard Bernstein’s music. But Sondheim also wrote beautiful compositions of his own, and we hear that on this album, which is far more than a collection of songs on a tribute record. Ian Shaw offers, on “Stephensong”, a genuine homage to Sondheim’s genius, with the singer, accompanied solely by pianist Barry Green, revealing above all the pure beauty of the compositions. Songs like ‘No One Is Alone’ and ‘Take Me To The World’ become fragile yet deeply felt and intense in these minimalist renditions. Where Sondheim’s world was one of the bombast inherent to musicals, Shaw shows what remains of the songs when you strip away those rich arrangements. That is a tremendous risk, yet the surprise is great when it becomes clear that they all stand firmly on their own. More than that, even. Shaw and Green breathe new life into the songs, giving the compositions literal room to breathe, allowing the lyrics to gain far greater expressive power. ‘Marry me a little, love me just enough’. We give our yes-word. (Jeroen Mulder) (8/10) (Silent Wish Records)
