Album review overview: Evermore, Pat Metheny 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.

Tyrone Allen II – Upward

“Upward”, that is the title of the debut album by New York bassist Tyrone Allen II. That is actually a bit strange, because the man plays on countless albums and is a regular presence in many jazz combos. He was, for example, the bandleader of BRAHIM! In which he played together with Abe Nouri, the current keyboardist of Billie Eilish. Speaking of which: the music of Allen II is just as diffuse and elusive as that of Eilish. The basis is usually a relatively simple motif that is developed into layered group improvisations in which the ‘classical’, acoustic jazz instrumentation flows into soundscapes of electronics and ambient structures. The term ‘group improvisation’ was chosen carefully and very consciously, because there are hardly any real solos. The trumpet of Aiden Lombard or the saxophone of Neta Raanan is always part of an overall band sound; there is constant interaction between the various instruments. “Upward” is one of those albums on which you can hear the evolution of jazz, where the boundaries between genres blur and jazz becomes a stage for new sounds. In the case of Tyrone Allen II, those boundaries almost dissolve fluidly into extraordinarily elegant compositions. Tracks such as “Cassia” and “The A-Side (Dedicated to R.P.)” are examples of this. It should also be noted that the harp of Samantha Feliciano makes a major contribution to that elegance. (Jeroen Mulder) (7/10) (Dreams & Fears Records)

Evermore – Mournbraid

The lyrics of “Mournbraid” (the third album) by the Swedish power metal band Evermore deal with challenges and struggles that people face. After the instrumental, classically oriented opening, the metal kicks in. Johan Haraldsson has quite a high range, which allows him to deliver several long vocal outbursts. His vocal tone is less heavy than that of many other metal singers, which means his powerful voice sometimes tends towards screaming. Some tracks have surprising tempo and/or volume changes. Some other rousing songs are more predictable. As a result, the meaning of the lyrics comes across less strongly, but the choruses invite you to sing along. Instrumentally, it is well constructed, especially the dynamic drumming and the impressive guitar playing stand out positively. The strings are regularly played with pleasantly heavy intensity; in addition, there are some acoustic guitar sounds. At times the tempo in the vocals and/or music is quite high. The music and the (layered) vocals sound less warm than hoped. The contrasts between high/low and soft/loud are also fairly small. Furthermore, the layers in vocals and music are well distributed across the headset. (Esther Kessel-Tamerus) (6/10) (Scarlet Records)

Ms Banks — SOUTH LDN LOVER GIRL

For years, gold in the London underground and finally a debut album, “SOUTH LDN LOVER GIRL”. Ms Banks settles scores with everyone who underestimated her and does so with a confidence that hits you like a sound clash in Brixton. The album is her love letter to her younger self: raw, unfiltered and occasionally genuinely touching. The production swings between drill, Afrobeats and pure R&B soul. If you know her track “Karma”, you know this woman goes straight for the throat. “SOUTH LDN LOVER GIRL” is not an introduction; no, it is a statement. For beginners: start with the ferocious opening track and work from there. (Jan Vranken) (7/10) (Island Records)

Deadletter – Existence Is Bliss

“Existence Is Bliss” is the second album by the English post-punk band Deadletter and is a successful follow-up to the already impressive debut album “Hysterical Strength”, which was released in 2024. “Existence Is Bliss” is even more experimental than “Hysterical Strength” and gives even more space to experiments with jazz, folk and art rock. The saxophone plays an even more prominent role on “Existence Is Bliss” than on “Hysterical Strength”, where this instrument already played a major part. The dreamy saxophone parts on the first album were played by Poppy Richler, who, on this second album, has been more than adequately replaced by Nathan Pigott. His saxophone playing gives the music the same atmosphere as the music on David Bowie’s “Blackstar”. The lyrics deal with existential themes and resistance against the absurd, inspired by philosophers such as Albert Camus. Musically and lyrically, therefore, fairly heavy material. With “Existence Is Bliss”, Deadletter has created a second post-punk gem. Now let us hope they do not remain the best-kept secret of this already rather obscure genre forever. Deadletter deserves a wider audience than they currently have. (Ad Keepers) (8/10) (So Recordings)

Pat Metheny – Side Eye III+

Metheny is the gentlest tornado in jazz. “Side Eye III+” is the third instalment in his Side Eye series, in which he invites young talents for a musical conversation, and it is the most varied and most energetic of the three. The chemistry between the group members lies in the subtleties: small rhythmic shifts, unexpected harmonic turns, silences that say more than notes. Anyone starting with jazz and looking for an anchor point should first listen to his legendary “Bright Size Life”. Side Eye III+ is more advanced, but proves that Metheny, at seventy, still catches up with the young players on his home ground. Not to be missed for jazz lovers. (Jan Vranken) (8/10) (Modern Recordings)