Album review overview: Drake, Tamikrest 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.

Smerz – Easy EP

With “Easy EP”, Smerz once again explores the boundary between experimental pop and minimalist electronics. The tracks are short, fragmented and often built around vocal snippets, soft synths and unexpected silences. In “Cold Hands” and “Still Talking”, that fragile balance between intimacy and distance becomes most clearly audible. The production is sparse yet thoughtful, giving every sound extra weight. Instead of traditional song structures, the duo opts for atmosphere and fragments, giving the whole a nearly diary-like character. “Easy EP” feels less like a conventional release and more like a collection of impressions that together form an emotional line. It is not accessible pop, but also not pure abstraction, which keeps it suspended in that in-between space where Smerz has long been operating. (Elodie Renard) (7/10) (Escho)

Boogie Beasts – Don’t Be So Mean, A Tribute To R.L. Burnside

A fifteen-year anniversary was a good reason for celebration for the members of the Belgian band Boogie Beasts. The one hundredth birthday of blues legend R.L. Burnside provided the perfect occasion to connect both milestones. First, let us introduce the main figures. Boogie Beasts is a Belgian (half Walloon, half Flemish) quartet whose style is described as punk blues, hipster boogie or punk boogie. And, honestly, that description fits. R.L. Burnside (1926 to 2005) was an exponent of North Mississippi Hill Country blues and the patriarch of the Burnside musical family, as well as a major inspiration for Boogie Beasts. The band consists of Jan Jaspers (guitar, vocals), Patrick Louis (guitar, vocals), Fabian Bennardo (harmonica) and Gert Servaes (drums), and for this album they receive special American support from Duwayne Burnside (vocals), one of R.L.’s sons, guitarist Kenny Brown, who played for many years in R.L.’s band, slide guitarist Luther Dickinson and singer G. Love. From the Netherlands, Pablo van der Poel (guitarist, DeWolff) joins in, and from Belgium, rocker Cedric Maes. The album is in any case a fine tribute to the legendary bluesman. And more than that, the musicians highlight the essence of North Mississippi Hill Country blues while preserving their own style. The contributions of Burnside and Brown, who worked closely with the late master, certainly play a role in that. This becomes clear immediately with the opening track, “Jumper On The Line”, sung by Duwayne Burnside. Other tracks worth mentioning include “Skinny Woman” with Kenny Brown on guitar, “Over The Hill” with Luther Dickinson, and “Shake ‘Em On Down” sung by G. Love (yes, the one from Special Sauce). DeWolff’s Pablo van der Poel contributes excellent guitar work on “Going Down South”. Once again, an excellent record from our southern neighbours. A fine combination of Burnside’s driving style with strong, raw boogie. Solid work. (Eric Campfens) (7/10) (Donor Productions)

The Field – Now You Exist

On “Now You Exist”, The Field continues its signature minimal techno approach, with long repetitive structures in which small shifts make all the difference. The tracks slowly build from loops that are constantly transformed, creating a hypnotic effect typical of Axel Willner’s project. In tracks such as “Echo Drift” and “Soft Collapse”, it becomes clear how important texture is over melody. The production is tight and digital, yet retains a warm undertone that prevents it from feeling sterile. Rhythms are not changed abruptly but subtly shifted, so tension arises internally rather than externally. “Now You Exist” demands full attention and patience, but rewards it with an immersive listening experience in which the sense of time seems to dissolve. The album fits seamlessly within The Field’s catalogue, yet feels refined and controlled, with a strong focus on balance between repetition and development. (Tobias Braun) (8/10) (Kompakt)

Tamikrest – Assikel

With “Assikel”, the legendary group Tamikrest once again delivers an album in which the desert blues of the Sahara is combined with a broad and layered sonic palette. The Malian group sounds tighter than ever on this sixth studio album. Electric guitars remain the foundation of “Assikel”, but are this time complemented by subtle percussion, acoustic accents and vocal lines that have an almost meditative effect. In tracks such as “Tamotait” and “Aman Iman”, not only is melody central, but also the sense of connection that runs throughout the entire album. The production sounds warm and organic, allowing the repetitive guitar lines plenty of space to slowly unfold. Tamikrest does not opt for sharp contrasts, but for a steady build in which each composition develops its own atmosphere. “Assikel”, which in Tamasheq refers to a cycle of renewal, is a balanced and convincing record that brings tradition and modern influences together in a natural way. “Assikel” is a fine album that brings Tamikrest back to where they belong. (Elodie Renard) (8/10) (Glitterbeat Records)

Drake – ICEMAN

With “ICEMAN”, Drake presents his ninth solo album, his first full solo record in three years and the most heavily loaded project of his career to date. The album was released after an extensive marketing campaign involving video broadcasts, cryptic ice sculptures in Toronto and the ongoing rivalry with Kendrick Lamar as its backdrop. On the lead singles “What Did I Miss?”, “Which One” featuring Central Cee and “Dog House” featuring Yeat and Julia Wolf, Drake shows that he is attempting to reposition himself as a cultural anchor point, to be honest about broken relationships and to maintain his focus. The production is sleek and timeless, although it lacks the major risks that made his earliest classics, such as “Take Care” so memorable. The album deserves credit for its emotional honesty, but it also reinforces the question that has lingered for years: is Drake still capable of the unanimous acclaim he once enjoyed at his peak? “ICEMAN” is solid, sometimes compelling, but rarely gripping enough to fully silence the doubts. (Norman van den Wildenberg) (6/10) (OVO Sound/Republic Records)