Album review overview: Mitski, Bruno Mars and more
Dozens of new albums arrive at Maxazine’s editorial staff every week. There are too many to listen to, 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.
Mammal Hands – Circadia
With Rob Turner (formerly of GoGo Penguin), British band Mammal Hands has new hands holding the drumsticks, and you can hear it. On no previous album have the drums been so prominent and defining for the sound. Founded in 2012, the group has grown, partly due to praise from Jamie Cullum, into a staple of contemporary jazz, with influences from folk, post-rock, and electronic music. The entirety of “Circadia” is more up-tempo than previous work, almost aggressive, biting: something clearly heard in “Alia’s Abandon”. It is one of the tracks where Turner shines, while Nick Smart on piano repeats the theme in a kind of mantra, giving space for the rich improvisation of saxophonist and brother Jordan Smart. But after a few tracks, the conclusion is that this sixth album adds little to the British group’s oeuvre. In fact, halfway through the record, it starts to bore. Each track has an almost identical structure: the theme on piano, a quiet beginning with the introduction of the theme, culminating in an apotheosis where Turner and Jordan get to manifest. It is certainly not a bad album, but more was expected from a trio with a fresh record deal at leading label ACT. More than a creative drummer is needed: the material is not as daring as Mammal Hands wants us to believe. (Jeroen Mulder) (6/10) (ACT Music)
Mitski – Nothing’s About to Happen to Me
With “Nothing’s About to Happen to Me”, Mitski continues her exploration of stillness and disruption within compact indie-pop compositions. The album builds on the atmosphere of “Laurel Hell” but often opts for sparse arrangements where guitar, subtle electronics, and her characteristic voice are central. In tracks like “Where’s My Phone” and “If I Leave”, she explores alienation and self-observation without lapsing into melodrama. The production is restrained, giving space to silences that lend extra weight to the lyrics. Thematically, it revolves around control and the awareness that change sometimes fails to materialise, nicely developed through recurring melodic motifs. The tension is maintained through subtle shifts in dynamics and rhythm. Mitski presents herself here as a songwriter who constructs a coherent whole with minimal means, which grows upon repeated listening. (Elodie Renard) (8/10) (Dead Oceans)
Bruno Mars – The Romantic
On “The Romantic”, Bruno Mars returns to 1970s soul and funk without losing his pop sensibility. The singles “I Just Might” and “Risk It All” rely on tight horns and rhythms reminiscent of his work on “24K Magic”, but the tone is more reflective this time. Mars sings about devotion and doubt in relationships, with his falsetto and rhythmic phrasing at the centre. The production is warm and analogue, with much attention to live-played parts. Yet it is never superficial, as a subtle melancholy lies beneath the danceable layers. The album clearly opts for consistency rather than experimentation. This sometimes reduces surprise, but the strong melodies and polished arrangements maintain a high standard. “The Romantic” confirms Mars as a craftsman of contemporary pop and soul. (William Brown) (7/10) (Atlantic Records)
Wild Blue Herons – It’s All About Love
Canadian duo Bill Sample and Darlene Cooper make jazz as Wild Blue Herons, but with a large dose of soul, gospel, and pop. On this third record, “It’s All About Love”, we hear a now familiar sound without it becoming repetitive. The debut was mostly funky, the second more subdued and intimate. “It’s All About Love” sounds fuller thanks to richer arrangements, including horns. This is an excellent addition, making the compositions livelier and more exciting. You hear it immediately on the opening track “Mr. Wigly”: a deep funk groove built on a piano riff, framed and propelled by trombone and tenor sax. It sets the tone for the rest of the album. In short, Wild Blue Herons has transformed into a fusion ensemble. Listen to “Live in the Moment” and “Whatcha Gonna Do With Your Life” and convince yourself. The groove, the arrangements, Cooper’s vocals: it’s like listening to a GRP compilation. Not that Sample and Cooper match GRP, but it is clearly an experienced, well-synced band where musicians enhance each other. Not only on up-tempo tracks but also on ballads like “Someday” and even the saccharine take on the overplayed standard “You Are My Sunshine”, though we could have done without that. (Jeroen Mulder) (7/10) (Independent)
Zagga – Piece of Paradise
Zagga, the Jamaican singer-songwriter who previously impressed with “Energy Never Lie”, shows with “Piece of Paradise” that he does not leave his artistic growth to chance. The 13-track album, produced by Amini Music, delivers exactly what the title promises: a musical escape from the everyday grind. The production moves smoothly between classic one-drop rhythms and contemporary reggae with near-pop sensibility. Highlights include “I’m Alright” with the inevitable Tarrus Riley and “Mama Say” with Alaine, where Zagga fully uses his talent for conveying deep messages in catchy melodies. Anyone who has ever swayed to Bob Marley’s “Is This Love” will feel the same warm familiarity here. The album sometimes plays it safe, but that is hardly a flaw when the result sounds this polished. “Piece of Paradise” is reggae that immediately makes you feel at home. (Elodie Renard) (7/10) (ONErpm)
