Album review overview: Beth Orton, Tarja 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.

Belushi Speed Ball – Toxik Waste Was Everywhere In The ‘80s

Toxik Waste Was Everywhere In The ‘80s’ is the fourth album by this American crossover/thrash metal band. Belushi Speed Ball do not take themselves too seriously and successfully distinguish themselves from other genre peers by selling absurd merchandise and performing chaotic live shows with equally chaotic lyrics and music. The music is largely similar throughout: fast songs with Vinny Castellano screaming his lungs out on every track. The best and most original track is Belushi Speed Ball, which parodies Iron Maiden, clearly audible in the guitar riffs that unmistakably resemble Iron Maiden, but played at double speed. Once again a strong album from these American crossover/thrash comedians. (Ad Keepers) (7/10) (Own production)

Glorious Wolf – Elements Of Hope

Elements Of Hope’ is the third album by the studio project Glorious Wolf (founded by composer and guitarist Ruud Dielen). The concept follows the life journey towards adulthood in a chaotic world with climate change, AI, wars and more. Hope for a better future remains. The lead vocals are provided by Frank van der Borg and Jyoti Verhoeff. The title track (opening track) consists of five parts and begins with EoH – Part 1: Instrumental. It features, among other things, experimental, “futuristic” sound effects and beautiful guitar playing. You can hear the transitions between each section. Both instrumentally and vocally, these sections differ. There is regularly a remarkable combination of music and soundscapes. There are various surprises, details and (electronic) sounds that I enjoy. In ‘If I Only’ you can hear the emotion and passion. The contrasts between emotions such as “hope” and “chaos” were expected (based on the press information) to be greater. This is partly because the volume contrast is sometimes a little too small. As a result, the story comes less to life. Still, it is enjoyable due to the strong compositions performed by skilled musicians. You can hear influences from previous albums, but Glorious Wolf has definitely enriched its style with Elements Of Hope’. (Esther Kessel-Tamerus) (7/10) (OOB Records)

Ibeyi – Offering

Offering shows Ibeyi once again centring their sound around rhythm, voice and spiritual layering, but with a clear sense of artistic repositioning. The album is structured as a series of short, concentrated compositions in which percussion, electronic textures and multi-layered vocals constantly intertwine. In tracks such as Aset and Good Life it becomes clear how sisters Lisa-Kaindé and Naomi Diaz expand their musical language without losing their recognisable core. The production is rich but controlled, allowing every detail space without overwhelming the mix. What stands out is the balance between introspection and rhythmic energy, making the album feel both meditative and physical. According to recent descriptions, the work revolves around themes such as identity, autonomy and cultural connection, which can be heard in the layered vocal structures and the use of multilingual lyrics. In the middle section, the dynamic becomes slightly more even, but coherence remains strong as the album is clearly designed as a single cycle. Offering therefore feels less like a collection of songs and more like a continuous ritual experience in which form and content are closely intertwined. The closing leaves a subdued yet determined impression, fitting the duo’s renewed independence. (Elodie Renard) (8/10) (No Format / AWAL)

Beth Orton – The Ground Above

The Ground Above sees Beth Orton move within a carefully constructed blend of folk, electronica and jazz influences, where self-reflection and texture are central. The album is built around a series of relatively long compositions in which space and silence play an equally important role as melody. In tracks such as Cigarette Curls and Otherside a slowly unfolding dynamic emerges in which voice and arrangement remain in constant balance. The production is warm and organic, with contributions from, among others, Tom Skinner and Adrian Utley adding subtle but meaningful accents. The album is deliberately structured in two parts, with a more fragmented opening and a more open, flowing second half. In the middle section, the restrained dynamics can lead to a certain uniformity, but this is compensated by the level of detail in the instrumentation. The Ground Above is not a direct statement, but a work that grows through repeated listening and attention to nuance. (Cian Murphy) (7/10) (Partisan Records)

Tarja – Frisson Noir

Frisson Noir marks a dark and ambitious chapter in the work of Tarja. The Finnish singer once again chooses a symphonic metal foundation, but the album places more emphasis on theatrical tension than on direct power. In tracks such as At Sea and I Don’t Care it becomes clear how the production is built layer upon layer, with orchestral structures that feel more cinematic than traditionally metal-oriented. Tarja’s voice remains the central element, but is this time more often surrounded by choirs and heavy arrangements that increase the emotional weight. Especially in the middle section of the album, an interplay between silence and explosion emerges that keeps the listener constantly in suspense. Some compositions stretch that tension a little too far, causing momentum to occasionally be lost. Still, coherence remains intact as the album is designed as a single continuous narrative. Frisson Noir demands attention and patience, but rewards it with a carefully constructed atmosphere that relies not on immediate impact, but on gradual intensity. (Tobias Braun) (7/10) (earMUSIC)