Album review overview: Mumford & Sons, Altın Gün 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.
Alan Morse – So many words
Multi-instrumentalist Alan Morse plays keyboards, various string instruments and cello. These can be heard on his latest solo album “So many words”. The sound of the opening track is too soft compared to the rest. “Shadow of the Sun” is a subdued, slightly sweet duet between Alan and his brother Neal. Alan’s cello blends beautifully with the other instruments. Guest musicians include Markus Riegler and Ted Leonard. The blend of different vocalists works well; the overall tone is rather sweet, which fits the lyrics that may offer comfort. Some lines of the lead vocal are distorted; there are also industrial sound effects and noises. This is not always fully balanced with the whole. The various drummers deliver solid work, although the sound occasionally lacks warmth. The intros are more distinctive than the outros. At times, there are many layers in the music, including the recognisable, raw sound of Alan’s vintage guitar. The 11 varied tracks feel like a compilation album. Certain parts of the vocals and music are predictable, yet there are also surprising elements. (Esther Kessel-Tamerus) (7/10) (Independent release)
Jake Mason Trio – The Modern Ark
In 2009 Jake Mason scored an international smash hit, albeit not as Jake Mason but as one of the three burners in Cookin’ On 3 Burners. In the remix by Kungs, “This Girl” reached the top ten of the charts almost everywhere. The same Jake Mason can be heard on “The Modern Ark” delivering delightful Hammond jazz together with guitarist James Sherlock and drummer Danny Fischer. “The Modern Ark” may not produce hit material, but for the connoisseur who appreciates the B3, this album is a treat. Mason devotes great care to the overall vintage sound of his trio, thanks to the tube amplifier and live-to-tape echo. From the first notes of the opening track “The Last Piece”, you are drawn into a universe in which Jimmy Smith, Larry Young, honoured in “Boogaloo Popcorn”, Jack McDuff and Don Patterson once pioneered and elevated the B3 into a fully fledged jazz instrument. The Australian Mason enriches that universe with genuine engagement. In the title track, guest vocalist Kurt Elling gives voice to major concerns about humanity and the planet: a modern ark must offer salvation. A second guest appearance comes from Kate Ceberano on “Stop Searching For Love”, pure soul. The trio works towards the ultimate finale, the lightning-fast “Here’s Your Change”, in which Fischer in particular shines with virtuosic drumming. (Jeroen Mulder) (8/10) (Soul Messin’ Records)
WILLOW – petal rock black
On her seventh studio album “petal rock black”, WILLOW makes a radical artistic leap: for a year and a half she wrote, produced and recorded the album entirely on her own, accompanied only by her sound engineer. The result is a short yet meditative exploration of spiritual jazz and art pop, inspired by Alice Coltrane and Joni Mitchell. Spoken text by funk legend George Clinton opens the album, jazz saxophonist Kamasi Washington shines on “Play”, and experimental duo Tune-Yards add another layer of uncertainty to “Omnipotent”. In “Hear Me Out”, the intention to forgive collapses under its own weight, while “Ear to the Cocoon” grows into an intimate prayer. The album is beautiful, at just 26 minutes in length, too short to convince fully; many ideas deserve more space. As an artistic statement of independence, “petal rock black” is remarkable, even if, as a whole, it is less compelling than her previous album “Empathogen”. (Elodie Renard) (7/10) (Three Six Zero)
Altın Gün – Garip
The Amsterdam-based quintet Altın Gün return with “Garip”, their sixth studio album and a loving tribute to the legendary Anatolian folk bard Neşet Ertaş, who passed away in 2012. The ten tracks are based on compositions by Ertaş and are completely reinvented by the band: “Gönül Dağı” receives a sweeping funk-rock treatment with strings by the Stockholm Studio Orchestra, while “Suçum Nedir” smoulders for six minutes as an Anatolian cry of the soul with saxophone and cinematic funk. “Benim Yarim” transforms into dubwise electro-folk, and the closing track “Bir Nazar Eyledim” rides on Giorgio Moroder-like keyboards for a dramatic finale. The album is more eclectic and more restrained than earlier work, with less overt psych rock and more atmospheric colour. Vocalist Erdinç Eçevit carries the album on his shoulders now that co-vocalist Merve Daşdemir has left the band, and he does so convincingly. “Garip” proves that Altın Gün are a band evolving with full maturity. (Norman van den Wildenberg) (8/10) (ATO/Glitterbeat)
Mumford & Sons – Prizefighter
Barely a year after “Rushmere”, Mumford & Sons return with their sixth studio album “Prizefighter”, produced by Aaron Dessner of The National. The record is a logical continuation of their previous work: introspective, full of stomp-clap folk rock and this time enriched with an impressive list of guest artists, including Chris Stapleton on “Here”, Hozier on “Rubber Band Man”, Gigi Perez on “Icarus” and Gracie Abrams on “Badlands”. None of the guests steals the show; their contributions serve the whole. “The Banjo Song” is, ironically, one of the strongest tracks, while the closing song “Clover” ends the album acoustically and soberly. The literary references are still present, but more lightly digested than before. The album offers enough for loyal fans, but Mumford & Sons take no major risks here and remain comfortably within their proven sound. Those hoping for bold reinvention may be somewhat disappointed, yet those who love the band will find a reliable and well-crafted record here. (Anton Dupont) (7/10) (Glassnote)
