Album review overview: 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.
Max Ionata Special Edition – Tivoli
Most people will associate the name Tivoli with the park in the centre of Copenhagen. Unless you are from Utrecht, in which case your first thoughts would be a concert hall. Or you might think of a small town near Rome. Saxophonist Max Ionata links the Mediterranean atmosphere of the Italian town with Danish hygge. The album opens with the warm tones of ‘Canción para Sara’, followed by the understated ‘Consolation’. Grooves alternate with calm, sustained compositions, often—or almost exclusively—centred on Ionata’s tenor sax, supported by Martin Sjöstedt (piano), Jesper Bodilsen (double bass) and Martin Maretti Andersen (drums). Yet, one cannot shake the impression that some of it feels forced; nowhere does the music feel truly ‘free’, even in the improvisations. It’s as if the concept of merging Southern European with Scandinavian vibes is overreached, too rigid, too strained. Perhaps this explains why most pieces are of modest length. The exceptions are two more significant compositions: ‘Det Lysner – The Dawning Light’ and ‘Mr. GT’, which brims with energy. These tracks show the quartet at its best in swing-oriented numbers. With a runtime of under forty minutes across eight tracks, it’s a pleasant album that won’t offend anyone. But from albums released on the Mingus label, we expect more. (Jeroen Mulder) (6/10) (Mingus Records)
Carnal Savagery – Crypt Of Decay
‘Crypt Of Decay’ is the seventh album from Swedish death metal duo Carnal Savagery. Inspiration is abundant for Mikael Lindgren, who plays all instruments, and vocalist/grunter Mattias Lilja. Seven albums in five years certainly qualify as productive. ‘Crypt Of Decay’ shares the same flaw as Carnal Savagery’s previous six albums. There are a few standout tracks that are a joy to hear, but there are also weaker compositions that are acceptable but unremarkable. Killers and fillers, essentially. The lyrics explore various serial killers and their morbid lifestyles, while the music is Swedeath metal, strongly reminiscent of Dismember, one of the genre’s founders. It is the composition, not the execution, that continues to hinder Carnal Savagery. (Ad Keepers) (6/10) (Moribund Records)
Fat Joe – The World Changed On Me
Bronx rapper Fat Joe presents a contradictory work with his eleventh studio album, struggling with identity. At 54, Joe tries to embrace modern sounds, producing an album that feels authentic at times and forced at others. The production, 54% by Cool & Dre, is the album’s strongest element. The title track ‘The World Changed On Me’ comes closest to vintage Fat Joe, featuring a Just Blaze-like soulful production reflecting on his 1980s past and adapting to today’s world. Tracks like ‘Us’ with Remy Ma and an intro by Chris Rock pack punch, while ‘I Got You’ with Babyface offers a pleasant R&B vibe. Unfortunately, many other songs feel generic, with Joe mimicking flows better suited to younger rappers. ‘Paradise’ with Anitta and DJ Khaled feels dated, as it came from 2005. Guest contributions vary in quality, and the album lacks a clear direction. At only 31 minutes, the project could have been stronger had Joe focused on his own style rather than chasing trends. (Norman van den Wildenberg) (5/10) (EMPIRE Distribution)
DMX – Let Us Pray: Chapter X
DMX’s second posthumous project focuses entirely on the spiritual dimension of the legendary Yonkers rapper, with Grammy-winning producer Warryn Campbell composing new music around previously recorded prayers scattered across Earl Simmons’ first six studio albums. The result is a controversial release of just eight tracks, four of which are instrumental versions of the first four songs, limiting the runtime to 27 minutes. Campbell creates original musical arrangements ranging from baroque choir parts to modern trap beats, while guest appearances from Killer Mike, Snoop Dogg, Lecrae, and MC Lyte complement DMX’s prayer monologues. Opener ‘Favor’ shows gospel group Mary Mary’s harmonies blending with DMX’s gratitude to his creator, while ‘Bear With Me’ with Lecrae unites Christian rap and prayer. The closing ‘Until I’m Gone’ with Snoop Dogg and Terrace Martin captures DMX’s voice trembling with emotion as he reflects on mortality and faith. Although production is skilled and intentions sincere, the project raises questions about how DMX himself would have documented his spirituality. Critics note it benefits Def Jam more than it serves DMX, and a full album with hand-picked gospel collaborations would likely have been his preference. The project awkwardly balances tribute and commercial exploitation, yet offers a glimpse of the heartfelt religiosity at the core of his identity. (Elodie Renard) (5/10) (Def Jam)
The National – Rome
For those who have long claimed that The National must be experienced live to truly understand their music, here is definitive proof in the form of this extensive double live album with 21 tracks. Recorded on 3 June 2024 at the architecturally stunning Cavea of the Auditorium Parco della Musica Ennio Morricone during their joint tour with The War on Drugs, the release captures the essence of what makes the band so distinctive on stage. The setlist spans a quarter-century of material, from the raw ‘Murder Me Rachael’ from their debut to recent compositions like ‘Tropic Morning News’ and ‘Smoke Detector’. Matt Berninger’s signature baritone comes through even more authentically live, shifting from controlled intensity to cathartic release. Twin brothers Aaron and Bryce Dessner provide intricate guitar work that lays a solid foundation, while drummer Bryan Devendorf is the band’s secret weapon with his powerful, human groove that brings even subdued songs like ‘I Need My Girl’ to life. Mixed by longtime collaborator Peter Katis, the album sounds surprisingly clear and cinematic without losing the raw energy of a live show. The audience’s presence is felt throughout, culminating in the emotional closer ‘Vanderlyle Crybaby Geeks’, where thousands of fans sing every word. Though tracks like the nearly seven-minute ‘Smoke Detector’ could have been trimmed, and ‘The System Only Dreams In Total Darkness’ feels awkward at times, this document convincingly demonstrates why The National are regarded as one of the best live bands of their generation. (Anton Dupont) (8/10) (4AD)
