Album review overview: Ulver, Marilyn Manson 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.
Ulver – Liminal Animals
The Norwegian chameleons deliver their third consecutive synthpop album, “Liminal Animals,” a genre they continue to embrace after decades of radical stylistic shifts. The album opens with “Ghost Entry”, welcoming the listener into an enchanting eighties atmosphere in which Kristoffer Rygg’s voice acts as a sinister crooner above shimmering synthesisers. The sense of melancholy that flows through the album is intensified by themes of loss and farewell, made all the more poignant by keyboard player Tore Ylwizaker’s passing shortly after the recordings. Tracks such as “A City In The Skies” and “Forgive Us” merge dark lyrics on human self-destruction with paradoxically accessible melodies reminiscent of Tears for Fears. The two instrumental “Nocturne” pieces offer breathing space between the vocal tracks, while the eleven-minute “Helian” closes the album with spoken Norwegian and drifting electronic soundscapes. Although the album does not reach the remarkable heights of “The Assassination Of Julius Caesar”, Ulver demonstrates on “Liminal Animals” their mastery of creating a consistent and understated atmosphere. Anders Møller’s production ensures a richly layered soundscape in which orchestral elements and Nils Petter Molvær’s trumpet are subtly woven through the electronic textures. (Norman van den Wildenberg) (7/10) (House Of Mythology)
Bedsore – Dreaming The Strife For Love
The Italian progressive death metal formation surprises with their second full-length album, showing a radical stylistic transformation compared to 2020’s “Hypnagogic Hallucinations”. The concept album, based on the fifteenth-century Renaissance work “Hypnerotomachia Poliphili” by Francesco Colonna, functions as a love letter to seventies progressive rock, with synthesisers, mellotron and Hammond organ taking centre stage. Opening track “Minerva’s Obelisque” immediately sets the tone with six minutes of instrumental exploration featuring jazz-like cymbal strokes, fretless bass and brass pushing the death metal aesthetic far into the background, while female wordless vocals float above arrangements recalling Goblin and Jethro Tull. The twelve-minute centrepiece “A Colossus, An Elephant, A Winged Horse, The Dragon Rendezvous” shows keyboardist Stefano Allegretti effortlessly switching between organ, mellotron and synthesisers while saxophone and guitar are engaged in a lustful duel. Drummer Davide Itri proves his craftsmanship with subtle tom patterns and malleted rolls that leave space for the layered textures, although his bass drum work occasionally loses some power. Lorenzo Stecconi’s production creates a spacious sound image in which every instrument remains clearly audible, even when the compositions reach their most chaotic moments. Vocalist Jacopo Gianmaria Pepe mainly uses blackened shrieks contrasting with the warm instrumentation, with his voice sometimes sinking into the mix as if becoming part of the psychedelic haze. Although fans of the debut may be disappointed by the lack of traditional death metal riffs, “Dreaming The Strife For Love” shows a band fully embracing their progressive ambitions. The album positions Bedsore as a unique voice within the progressive death metal scene, achieving a more natural fusion of seventies prog and extreme metal than many contemporaries. (William Brown) (8/10) (20 Buck Spin)
Lisa Hilton – Extended Daydream
You need courage to open an album with a rather free and daring interpretation of “So What”. And you need almost otherworldly bravery to present both Miles Davis and contemporary pop star Billie Eilish on the same record. Pianist Lisa Hilton does just that: the contrast between the opening, in which the band has every opportunity to show what it can do (pay special attention to Ingmar Thomas’s formidable trumpet solo), and the exceptionally restrained “Wildflower” by Eilish could hardly be greater. “Extended Daydream” is a highly successful demonstration of Hilton’s versatility and her ability to connect classics and contemporary material through her own arrangements. The choice of repertoire and the crossovers made within the compositions are the result of a broad musical taste: traditional jazz, blues, Latin, deep grooves and subtle melodies all form part of the palette used by Hilton and her five-piece band. Fine pieces include “Tropical Tuesday”, “Blues on the Beach” and “Sunset Tale”: delightful jazz, delivered with energy and elegance by a band that sounds unified while still leaving space for individual expression. Courage is rewarded. (Jeroen Mulder) (8/10) (Lisa K Hilton)
Starmen – Starmenized II
The Swedish band Starmen release their fifth album with “Starmenized II”. The members of Starmen are no novices and have earned their stripes in bands such as Narnia and The Poodles. The music Starmen play resembles that of The Poodles and pays homage to the music of the seventies and eighties by bands such as Kiss and Whitesnake. Starmen also make use of make-up and stage names. For some, this may come across as slightly cheesy. Do not expect innovative music. Originality is scarce, but that is not what Starmen are aiming for. What they do, they do exceedingly well. Fans of previous work by Starmen, The Poodles and Kiss will find another excellent album here. (Ad Keepers) (8/10) (Melodic Passion Records)
Marilyn Manson – One Assassination Under God – Chapter 1
The controversial shock rocker returns after four years of silence and legal turmoil with an album that clearly acts as a response to the allegations that nearly destroyed his career. Produced by Tyler Bates, “One Assassination Under God – Chapter 1” presents a Manson who sounds vocally stronger than he has in years, with his sobriety clearly paying off. The title track opens with menacing industrial tones and chugging guitars while Manson’s lyrics are plainly directed at his critics. “No Funeral Without Applause” stands out with its Weezer-like guitar work in the verses, combined with Manson’s characteristic dramatic flair. The album balances heavier industrial rock reminiscent of his classic era with the more subdued gothic rock of recent years. “As Sick As The Secrets Within” combines dense layers of instrumentation with Manson’s most versatile vocal performance on the record. However, it remains problematic to hear “Sacrilegious” and other tracks in which Manson portrays himself as a victim while the lawsuits remain fresh in memory. “Death Is Not A Costume” focuses on religious themes with lines about bloodstains on Jesus’s hands, although provocation in 2024 feels less shocking than Manson might hope. Closing track “Sacrifice Of The Mass” shows a vulnerable side with acoustic guitars and a Robin Trower-worthy solo. Musically, the album is solid craftsmanship that will satisfy fans, but the context surrounding its release makes it difficult to separate the music from the man. (Anton Dupont) (6/10) (Nuclear Blast)
