Album review overview: MOMO., Ken Carson 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.
MISSIO – Love & Heartbreak
On “Love & Heartbreak”, MISSIO throws the door wide open to the dark pop sound with which the Texan duo first broke through on “Loner”, but with a more cinematic edge. Matthew Brue and David Butler blend alt rock, electronica and a touch of hip hop into an album that is both abrasive and compelling, produced by long time collaborator Dwight Baker. The subject is simple yet universal: fourteen songs about the intoxication and heartbreak of love, from the opening track “Dreams” to the orchestral closing piece “The Moment”. Singles such as “Bleed” and “Dopamine Kisses” demonstrate where the band’s strength lies, in the tension between vulnerable lyrics and production that hits just as hard as the emotions it portrays. MISSIO dares to embrace darkness without slipping into self pity, making “Love & Heartbreak” an album that hits you right in the stomach without ever feeling forced. Fans of the band’s earlier work will get exactly what they hope for, while newcomers will find an excellent point of entry. A spirited record by a duo that knows exactly what it wants to say and how to make it sound. (Anton Dupont) (8/10) (Nettwerk)
Early Times – Border Crossings
New York guitarist and composer Early Times is best known as a radio presenter on SiriusXM, but he has also been steadily building a career as a jazz musician. With “Border Crossings”, he presents an instrumental album where hard bop, soul jazz and Latin jazz come together. He is supported by an impressive line up featuring Steve Gadd, Zaccai Curtis, Luques Curtis and Craig Handy. The quality of the musicians is beyond doubt. The interplay is tight, the solos are tasteful and the rhythm section keeps the music constantly moving. Gadd and the Curtis brothers, in particular, leave a distinctive mark on the album. However, this also brings a slight reservation: it is often the supporting musicians who make the strongest impression, meaning Times does not always stand out as prominently as bandleader and guitarist. His compositions are solidly constructed, but they rarely surprise or truly push the boundaries of the genre. The production, on the other hand, is of a very high standard. The open, warm sound and natural balance between the instruments evoke memories of Rudy Van Gelder’s classic Blue Note recordings, where musicality mattered more than studio tricks. “Border Crossings” is not an innovative jazz album, but it is a polished and convincingly performed record that excels through the quality of the ensemble and its relaxed musical chemistry. (Bart van de Sande) (7/10) (Dealer’s Choice Records)
Low Cut Connie – Livin in the USA
“Livin in the USA” by Low Cut Connie is a raw, politically charged rock album that firmly positions itself within the American tradition of barroom rock and blues. The production is direct and unpolished, placing the band’s energy centre stage. On songs such as “Working Man’s Truth” and “Broken Flag Blues”, social criticism is wrapped in simple yet effective song structures. Adam Weiner’s voice sounds urgent and at times almost on the verge of breaking, perfectly matching the album’s raw tone. Not every track has the same impact, and some rely heavily on repeated blues progressions. Nevertheless, the consistent thematic direction ensures the album stands strong as a protest record. It feels more like a live performance than a studio exercise, which is both its greatest strength and its main limitation. (Daniel Harris) (7/10) (Contender Records)
Ken Carson – xperiment
Rapper Ken Carson delivers his fifth studio album with “xperiment”, a twenty two track record in which he further refines his trademark rage rap sound. Together with producers from the Opium collective, he creates a sonic world of pounding bass, distorted synths and sudden beat changes, designed to explode at parties or in packed venues. Lyrically, Carson stays true to himself: money, luxury, women, drugs and the pressures of fame all make an appearance, without venturing into deep introspection, which clearly is not the intention. Tracks such as “Ghost” and “Possession” stand out positively, while songs like “Shopping” are less convincing and occasionally make the album feel repetitive. Guest appearances from, among others, Playboi Carti and Lil Uzi Vert add varying degrees of weight, with Uzi being the clear highlight. For existing fans of Carson’s style, “xperiment” delivers exactly what is expected, complete with the production quality the rapper consistently guarantees. New listeners are less likely to be convinced, as the album lacks the surprises needed to lift it above previous releases such as “More Chaos”. (William Brown) (6/10) (Opium/Interscope)
MOMO. – Tum Tum Tum
With his eighth album “Tum Tum Tum”, MOMO. once again confirms his unique position within contemporary Brazilian music. Marcelo Frota draws generously from Tropicália, afrobeat, jazz, folk rock and psychedelia, blending these influences into a warm, organic whole that feels relaxed, sultry and summery. The production sounds open and natural, with subtle percussion, warm bass lines, smooth guitar work and colourful brass arrangements providing the perfect foundation for his understated vocals. The greatest added value comes from the guest musicians. The presence of Brazilian bossa nova legend Marcos Valle, in particular, gives the album extra prestige. His contribution effortlessly bridges the past and present of the Brazilian tradition upon which MOMO. builds. Nina Miranda adds a beautiful summery atmosphere with her dreamy vocals. Opening track “Egum Eô” immediately sets the relaxed mood and showcases the strong chemistry within the band. That laid back approach is also the album’s only minor criticism. Because of its consistently mellow atmosphere, a few songs lack the distinctive moments needed to remain firmly in the memory. Even so, quality prevails: “Tum Tum Tum” is an atmospheric, layered and musical album that grows with every listen and proves that experience and genuine inspiration remain the finest ingredients for timeless music. (Bart van de Sande) (7/10) (Agogo Records)
