Album review overview: Morrissey, Gnarls Barkley 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.

Glorious Bankrobbers – Intrude

Glorious Bankrobbers is a Swedish rock band playing sleazy classic rock. They have already made their mark and have collaborated with many top Swedish musicians. Guitarist Kee Marcello, known from Europe among others, produced the debut album ‘Glorious Bankrobbers’ released in 1984. They also supported Yngwie Malmsteen on tour. Glorious Bankrobbers disbanded in 1991/1992 and singer Olle Hillborg moved to Norway to sing with Backstreet Girls. The rest of the band continued under the name Mental Hippie Blood, which released two albums. This band also had a short life and was dissolved in 1995. At the end of 2006, Glorious Bankrobbers reunited without guitarist Mikael Jansson. ‘Intruder’ is the third album Glorious Bankrobbers has released since this reunion. On ‘Intruder’, Glorious Bankrobbers continue what they did on their previous albums. However, the sleazy classic rock does not sound dated but shows a band that, after 40 eventful years, is hungrier than ever. ‘Intruder’ is recommended for any fan of (Scandinavian) sleaze/hard rock. (Ad Keepers) (7/10) (Wild Kingdom Records)

Shai Maestro – The Guesthouse

Jazz fans familiar with the pianist’s earlier albums, such as ‘The Dream Thief’, will not immediately recognise Shai Maestro’s hand in ‘The Guesthouse’. On this album, Maestro takes a different path, moving away from the classic piano trio and towards cinematic, layered music in which the piano is combined with synthesisers, soundscapes and collaborations with diverse musicians. The album title is fitting: a guesthouse where different styles and influences are welcome. Maestro makes generous use of influences from outside jazz, from pop to world music, with Paul Simon, Rosalía and John Coltrane as sources of inspiration. Some pieces are short, almost song-like compositions with a clear form, while other passages slowly unfold in improvisation and texture. ‘The Guesthouse’ is an album where Maestro presents himself more as a composer than as a pianist. On tracks like ‘Strange Magic’ with vocals by Michael Mayo or ‘Nature Boy’, which relies heavily on electronics and saxophone improvisation, the piano does not play the leading role. The result is a particularly varied album explicitly seeking a broader audience. Successful. (Jeroen Mulder) (8/10) (Sleeping Giant Music)

Bonfire Lakes – Sorino

It took a while for Bonfire Lakes, aka Marino Roosen, to release a full album. Recently, Bonfire Lakes released the new ‘Sorino’. The album title comes from ‘’so Marino’’ and focuses on the power of the songs’ vulnerability. The album does not consist solely of new material. Previously released songs such as ‘Vacancy’ and ‘Song For Ma’ are re-arranged and stripped of their rock outfits. It is clear that ‘Sorino’ has become a very personal album and is therefore ‘’so Marino’’. Roosen is no longer afraid to show his vulnerability, and ‘Sorino’ reflects that. It is pleasant to listen to on a Sunday morning. (Rik Moors) (7/10) (Thorn In My Side)

Morrissey – Make-Up Is a Lie

Morrissey remains one of the most talked-about figures in alternative rock, and his fourteenth solo album ‘Make-Up Is a Lie’ will only confirm that status. Produced by Joe Chiccarelli, the album offers a collection of songs in which the singer’s distinctive baritone takes centre stage. The lyrics are, as usual, sharp and often provocative, confronting modern society and personal frustrations. Musically, the album relies on familiar indie structures, but there are moments when the instrumentation feels heavy. Some songs lack the melodic refinement of his earlier work, while others surprise with their raw simplicity. The single ‘Make-Up Is a Lie’ serves as an anchor for the album and sums up the theme of authenticity and deception well. Despite the controversy surrounding him, Morrissey’s artistic vision is unmistakably present on this new record. For fans, it offers exactly what they expect: melancholy wrapped in critical reflection. (Anton Dupont) (6/10) (Capitol Records)

Gnarls Barkley – Atlanta

After an eighteen-year silence, the duo CeeLo Green and Danger Mouse finally return with the album ‘Atlanta’. The album serves as an emotional tribute to the city where their musical roots lie, offering a rich mix of soul, hip-hop and psychedelia. Green’s recognisable voice sounds more powerful than ever, while Danger Mouse’s productions remain layered and mysterious. Standout moments include singles ranging from uplifting rhythms to intimate ballads. The album feels like a logical conclusion to their trilogy and demonstrates that the chemistry between the two artists is still present. The lyrics are personal and reflect the growth they have individually experienced since their previous successes. Longtime fans will recognise the familiar sound, but there is enough innovation to appeal to a modern audience. ‘Atlanta’ is an authentic document honouring the group’s history while bringing a fresh wind through the genre. (Elodie Renard) (8/10) (Lexicon Records)