Album review overview: Chris Potter, J Balvin & Ryan Castro 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.
Anthea – Beyond the Dawn
The American band Anthea mixes progressive, power and thrash metal with symphonic/orchestral music. Most tracks on “Beyond the Dawn” have a symphonic opening of less than 15 seconds, then the metal comes in (in a predictable way). An exception is the ballad “Whispers of the Heart”. There are several predictable turns and elements in the 11 tracks, but fortunately, there are also surprises. If the tempo in the music is high, the music sometimes loses some dynamism. The distribution between the (energetic) metal and the symphony is fine. The sound could have been richer and warmer; the difference in volume between metal and symphony is too small. Because of this, the music lacks cinematic allure, and the listening experience is less intense. Clean vocals are alternated with (cool) grunts. The bass is regularly pleasantly present, and the guitar playing is very good. The lyrics deal with various subjects. The sampling at the intro of “Burnin’ in the Third Degree” (from the film “The Terminator”) is too short. Furthermore, this cover is more powerful than the original. (Esther Kessel-Tamerus) (7/10) (Rockshots Records)
Who On Earth It Takes The Village
Who On Earth is an American hard rock and heavy metal band. Starting as a cover band, they began writing original material in 2020. After writing ten songs, the band entered the studio with producer Mike Orlando to record their first album, “Blame”, which, despite delays caused by the COVID pandemic, was released in October 2022. This was followed by a somewhat turbulent period. 2024 is a key year in this respect. That year, Who On Earth released a significantly heavier version of Toto’s “Hold The Line”, currently their most-streamed track. Also in that year, guitarist Bruce Gatewood died at the age of only 55. In March 2025, the six-track mini album “Smoke & Mirrors” was released, dedicated to him. “It Takes The Village” is therefore the second album by Who On Earth and, like the debut and the mini album, contains straightforward hard rock and heavy metal with emphasis on guitar work and the vocals of Coosh (real name Andrew Couch). I can also mention that the second track, “Any Other Way” is a reworked version of “Black Swan” from their debut album. The bonus tracks are “Jane”, a new subdued song, “Down & Out” (DVRKO Remix), an electronic remix of “Blame”, which also appears on the debut album. On “Vigilance” (Extended Version), drummer Jason Bittner (Overkill) and guitarist Mike Orlando (Adrenaline Mob) play along. Orlando also produced this album again, and he did a good job. The album sounds excellent. Fans of classic hard rock and 1990s metal who do not prioritise originality will find a solid addition here. (Ad Keepers) (7/10) (Own production)
Chris Potter Alive With Ghosts Today
Chris Potter has for years been considered one of the most complete saxophonists of his generation: technically perfect, while that same technique is completely subordinate to his compositions. Potter is above all searching for the right tone. No virtuoso display and no resulting finger speed on the keys. Instead: compositions that rely on sound and space, on restraint in which the pure melody is the most important component and in which every instrument gets space, while Potter at the same time keeps full control and prevents pieces from falling apart into incoherent structures. Control is the key word here. “Alive With Ghosts Today” has become an album that requires patience from the listener. Pieces such as “Osawatomie” and “This Earth Would Have No Charms For Me” start slowly, need time to almost literally emerge, to grow. In those compositions Potter offers a view of his ‘ghosts’: forms of jazz and influences that shaped him. These are rich memories that produce contemplative, thoughtful music. An album for which you have to take time, to get to know the ghosts, to understand and appreciate them. (Jeroen Mulder) (7/10) (Edition Records)
The House Must Win Mick Flannery
“The House Must Win” is set in western Ireland in the 1970s and follows two brothers who, each in their own way, try to build a better life and do right by the love of their life. In a world full of gambling practices, secrets and broken families, they learn to deal with their fate. The project originates from “Evening Train”, Mick Flannery’s debut album from 2005. Twenty years later, he has developed the story into a full script, supplemented with ten new songs that further bring the original work to life. This time, Flannery has generously made use of guest artists who colour the songs together with him or independently. Contributions come from, among others, Susan O’Neill, Jenn Grant, Lisa Hannigan and Anaïs Mitchell. Given the narrative character of the album, this approach fits well within the chosen structure. The whole breathes a diverse, sometimes neoclassical sound, with an atmosphere in which an artist like Tom Waits would feel perfectly at home. At the same time, there is a possible downside: through the many guest contributions, Flannery’s own voice is occasionally somewhat overshadowed. With just his voice and guitar, he is able to create an intense, raw atmosphere that undoubtedly leaves one wanting more. (Bart van de Sande) (8/10) (One Riot Records)
J Balvin & Ryan Castro Omerta
J Balvin and Ryan Castro release their first joint album, “Omerta”, a ten-track reggaeton record that fuses the Italian code of honour with the street culture of Medellín. The two Colombians lean heavily into the concept: a short film with Sofía Vergara, mafia aesthetics in the style of “The Godfather”, suits instead of streetwear. Musically, it is less rigid than the presentation suggests. Castro brings his dancehall and reggae influences on “Una A La Vez” and “Medetown”, Balvin leans towards trap, afro house and even rock on “Melo”. “Tonto” with DJ Snake is the obvious club hit, in the vein of Balvin’s earlier “Mi Gente”. What feels slightly off is that ten tracks recorded in one week between New York and Turks and Caicos sometimes sound exactly like that, too. The brotherhood is audible, the necessity less so. A strong bromance, not a classic. (Jan Vranken) (7/10) (Universal Music Latino)
