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.
Mobilhome – That Though Tender
Avant-garde jazz for nostalgic pop-rock boomers. So. ‘That Though Tender’ is the debut of the Brussels superband Mobilhome. We didn’t invent that ‘superband’ label; the group markets itself that way. The accompanying roaring marketing text (including a reference to Frank Zappa) does not disappoint. This promises something. ‘That Though Tender’ opens with “Running Away From the Blaze”: an up-tempo riff underpinning dissonant sounds from brass or synths. The second track, “fushhh ===”, follows the same pattern, and for a moment it seems this could be the concept for the whole album. It vaguely recalls the work of Captain Beefheart, although Beefheart was revolutionary with an album like “Trout Mask Replica”. Thankfully, “=== hiking in the mountains after escaping the deadly fire” draws from a different source that we enjoy much more. Stronger: here we hear the promised musicality of Mobilhome. Together with “Elliot”, it is one of the better tracks, particularly thanks to the beautiful, deep saxophone that plays a leading role in both tracks. Yet then there is something like “Naked”, which lasts thirteen seconds, leaving us unsure what its purpose is. Perhaps the main flaw of ‘That Though Tender’ is inconsistency. There are certainly a few beautiful pieces, but too few to keep the entire album engaging. From a self-proclaimed supergroup, we expect more. Especially if you dare reference Zappa. (Jeroen Mulder) (6/10) (Mokuhi Sonorities)
Moonchild Sanelly – Full Moon
South African artist Moonchild Sanelly presents her third studio album, “Full Moon”, taking her self-invented genre, future ghetto funk to new heights. Produced by Johan Hugo, who has worked with Self Esteem and MIA, the album fuses gqom, amapiano, afro-punk, and electronic beats into an infectious whole. Opener “Scrambled Eggs” sets the tone immediately with a dub-inspired rhythm and Sanelly’s characteristic flow, followed by the sexually charged “Big Booty” that elevates female empowerment. Tracks like “Do My Dance”, “Gwara Gwara”, and “In My Kitchen” demonstrate her effortless genre-melding skills, while “To Kill a Single Girl (Tequila)” reveals her vulnerable side. The album truly surprises towards the end with “Mntanami”, sung in Xhosa about absent fathers, and the finale “I Was the Biggest Curse” in which Sanelly reflects on self-acceptance. While some tracks risk repetition due to a constant sexual focus, the energy remains high across the forty-two minutes. It is a colourful and exuberant portrait of an artist fully embracing herself. (Elodie Renard) (8/10) (Transgressive)
Phil Martin – Mystical Funk II
Samba, disco, funk. Drummer and producer Phil Martin has been blending these for 25 years, producing irresistibly thick beats—the signature of Martin since the first “Mystical Funk”. Following that debut, he collaborated with Jazzinvaders, Vipertones, Azymuth, and Dr Lonnie Smith. That experience is audible on “Mystical Funk II”. All the aforementioned styles appear, with Martin playing nearly all instruments himself. From the first notes of “Astral Flow” to the closing “Celestial Connection”, it’s a groove machine. Drums and percussion naturally take centre stage in compositions all named with cosmic references. Vintage synth lines and Nile Rodgers-style discofunk evoke the seventies and eighties dance floors, as in “Galactic Afro Groove”. The next track, “Mercury Overdrive”, also begins with a classic Moog riff. Admirably, Martin remains consistent. The temptation to feature a real trumpet solo is avoided; instead, a synthesiser replicates the trumpet tone from when it sounded artificial. Add a talk box in “Space & Time”, and our Saturday night is made. As it should be, “Mystical Funk II” is released on vinyl. Where are those flared trousers? We’re ready to dance. (Jeroen Mulder) (8/10) (Social Beats)
Ethel Cain – Perverts
With “Perverts”, Hayden Anhedönia, better known as Ethel Cain, takes a radical step away from the accessible folk sound of “Preacher’s Daughter”. This ninety-minute opus dives fully into drone, dark ambient, and slowcore, with four tracks over eleven minutes long. The title track “Perverts” opens with twelve minutes of distorted voices and static, while “Pulldrone” combines fifteen minutes of monotone spoken word with a menacing drone. The more accessible moments come from “Punish”, the only pre-released single, and the airy “Vacillator”, but even these sound submerged. Cain wrote, produced, and recorded everything herself in Pennsylvania and Florida, deliberately choosing a sound that will deter casual listeners. Influenced by Donald Ray Pollock’s short stories, the album explores perversity objectively. For those willing to endure discomfort, “Perverts” reveals hidden depths, but it is not background music—it demands full immersion into Cain’s obscure vision. The album succeeds in creating a piece of art that is disturbingly beautiful. (William Brown) (8/10) (Daughters of Cain)
Lily Löwe – Beautiful Disaster
Norwegian singer Lill Sofie Wilsberg, known as Lily Löwe, gained national attention through her participation in Norway’s Melodic Grand Prix 2022 with “Bad Baby”. Alongside her singing career, she works in Norwegian film and TV as a stylist and in makeup and costume departments, including the series Rådebank. Early this year, she remained active in both music and the television/film industries. Her debut album, released in 2022 under her band’s name, is titled “Löwe”. The band also released singles and a mini-album, “Glitter & Gore”, all warmly received in Norway. Now comes the second full album, “Beautiful Disaster”, on her own label “Löwe”. The lyrics explore real emotions, feelings, and experiences, with each song covering different themes such as power, strength, and self-destruction. Two ballads are present: the title track “Beautiful Disaster” and the closer/lead single “Love Like This”. The heaviest track is “Beg For You”, a personal favourite. The album blends powerful hard rock with melodic and sensitive numbers, all sung adeptly by Lily Löwe. Emotionally raw on the melancholic tracks, powerful on the rockers. Norwegian multi-instrumentalist Adrian Sunde Bjerketvedt contributed as guitarist, co-composer, and producer. Musically, one might loosely call her the Norwegian counterpart to Halestorm, though that would be unfair. A fine album with impressive guitar work and above-average vocals from the talented Lily Löwe. (Ad Keepers) (7/10) (Löwe)
