Album review overview: The Linda Lindas, Interpol 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.

Billy Strings – So Much For Goodbyes

The phenomenal bluegrass virtuoso Billy Strings once again demonstrates his extraordinary mastery of traditional string instrumentation on “So Much For Goodbyes”. In impressive fashion, he manages to combine classic roots music with a contemporary, almost progressive approach to the genre. The title track “So Much For Goodbyes” shines through its lightning-fast yet highly controlled picking on the acoustic guitar, supported by tight banjo and mandolin parts. On the melancholic “Lonesome Trail”, Strings also proves that he has grown considerably as a vocalist; his voice carries the song with an authentic, warm quiver. Although the album sometimes leans towards well-worn rural themes lyrically, the musical execution remains at an exceptionally high level. The balance between virtuoso interplay on the one hand and accessible song structures on the other makes this work suitable for a broad audience. The album provides an excellent, substantively sound representation of the modern American folk and bluegrass movement that is currently experiencing a strong revival on international stages. (Tobias Braun) (8/10) (Reprise Records)

Boy Harsher – Get Mean

With “Get Mean”, Boy Harsher once again sends an extremely dark, brooding electropop record into the ether. The devilish production duo takes their signature darkwave sound on tracks such as “Get Mean” to an unprecedented level of underlying tension. The captivating vocal lines float mysteriously above icy synths and compelling bass runs that flawlessly reference “Lesser Man”. The sound is elegantly produced, steeped in a cold, almost cinematic aesthetic that immediately transports the listener into the shadows of the nightclub. Single “Machinery” demonstrates how refined and purposeful the pair’s approach is; every pulse is precisely placed, every frequency carefully considered. Where comparable acts lapse into clichéd industrial tricks, this release maintains an elevated, journalistically engaging balance between avant-garde electronics and catchy arrangements. A fascinating and highly stylish work that masterfully shapes the dark side of synthpop. (Elodie Renard) (8/10) (Nude Club)

Ty Segall – Chrome

Garage rock glutton Ty Segall once again delivers a healthy dose of roaring amplifiers and abrasive melodies with “Chrome”. On tracks such as “Chrome” and the energetic single “Fuzz Brain”, it all sounds reassuringly raw and cheerfully messy. Yet this release also raises some questions when we consider his entire body of work, including “Melt”. Whereas on earlier records the American would occasionally surprise with psychedelic left turns or acoustic excursions, this album feels somewhat routine in its lyrics and composition at times. The overdriven guitars pound along nicely, but the catchy hooks that characterise his best work are missing here and there. The production has a pleasantly abrasive surface, although that cannot entirely conceal the fact that some songs are put together in a somewhat formulaic manner. It remains an entertaining listening experience for fans of the genre, but within the musician’s impressive discography it has become a fairly safe middle-of-the-road effort. (Anton Dupont) (6/10) (Drag City)

The Linda Lindas – Gotta Get Out

The teenage quartet The Linda Lindas bring a new batch of energetic punk rock with “Gotta Get Out”. The girls from Los Angeles naturally sound very enthusiastic again on single “Resolution”, in which fast drums and tight guitar riffs set the tone. Yet it is noticeable that the songs feel somewhat less spontaneous this time than on the debut album. The tracks sometimes seem to be built a little too much alike according to a fixed formula, causing songs such as “Losing Game” unfortunately to become somewhat repetitive. Although the cheerful harmonies remain infectious, lyrically it could all have had somewhat more depth. The production sounds strikingly polished and smooth, which takes away some of the raw punk edge that made them so charming in the first place. It is absolutely not a bad record and it makes for pleasant listening, but unfortunately they do not really surprise us this time. It feels like a somewhat safe step forward on the musical ladder, where a little more risk would have made the whole thing much more exciting. (William Brown) (6/10) (Epitaph)

Interpol – This Mirror Weighs a Ton

With “This Mirror Weighs a Ton”, Interpol proves that their distinctive post-punk sound still stands firm. Guitarist Daniel Kessler weaves sweeping riffs together on the single “This Mirror Weighs a Ton” with the melancholic, bone-dry vocals of Paul Banks, immediately evoking memories of their earlier masterpiece “Turn On the Bright Lights”. Although the gentlemen never reinvent the musical wheel on subsequent tracks such as “Shadows Fall”, the entire record radiates a tight, restrained class that never becomes tiresome. Where many contemporaries struggle to remain relevant, the trio delivers an exceptionally solid and focused collection of songs here. The driving bass lines and brooding rhythms keep the tension continuously at the sharpshooter level we have come to expect from them. It is not a revolutionary step forward, but purely in terms of craftsmanship and atmosphere, this album effortlessly convinces from the first second to the last. A wonderfully captivating addition to the band’s body of work. (Cian Murphy) (7/10) (Matador Records)