Album review overview: Tim Morse, Ezra Collective and more
Dozens of new albums arrive at Maxazine’s editorial staff every week. There are too many to listen to, 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.
This Is Lorelei – The Singer In My Band
Nate Amos, the brains behind This Is Lorelei, delivers a fascinating piece of modern indie pop with his new album “The Singer In My Band”. The album builds on the foundation of his earlier work, but at the same time explores the boundaries of electronic melancholy. With songs such as “Dancing in the Dark” and the fine title track “The Singer In My Band” he weaves intriguing patterns of synthesiser lines, beatnik rhythms and introspective lyrics. The production sounds remarkably spacious, with acoustic guitars seamlessly joining distorted vocal lines. Although some tracks such as “I Wonder” progress somewhat slowly, the whole thing remains captivating due to the constant emotional undercurrent. Amos proves himself to be a gifted songwriter who knows how to combine atmosphere and melody without resorting to cheap tricks. In terms of structure, the album can be described as somewhat erratic, but it is precisely this unpredictability that makes the result extremely compelling. For lovers of adventurous guitar pop, this album is definitely worth a listen. (William Brown) (8/10) (The Flesner)
The Tubs – Hard Life
The British post-punkers of The Tubs strike mercilessly hard with their latest full-length album “Hard Life”. The band combines fierce, whining guitar riffs with tight rhythms and socially critical lyrics that grab you by the throat immediately. Tracks such as “Wrecking Ball” and the fierce single “Hard Life” hit hard from the very first second and leave no part of the sound untouched. The raw vocals and relentless energy recall the early years of the British punk wave, but with a contemporary, fierce update. Musically, the rhythm section pounds on relentlessly, while the guitar work constantly cuts sharply and razor-sharp. There is hardly any room for rest; the album races past the listener at a murderous pace. Anyone who enjoys a hefty dose of unadulterated guitar fury and dynamic energy will feel right at home with this record. It is a uncompromising rock album that will undoubtedly cause enormous chaos on a live stage. (Anton Dupont) (8/10) (Trouble In Mind)
Brian Fallon – Not Bad For New Jersey
Brian Fallon returns with the passionate solo album “Not Bad For New Jersey”. Known as the frontman of The Gaslight Anthem, the American bard once again delivers a likeable dose of folk rock full of recognisable stories and captivating hooks. Songs such as “Drive All Night” and “Atlantic City” breathe the dust from the streets of his home state and sound like genuine singalongs. The production is kept fairly traditional, with acoustic guitars and a warm organ laying the emotional foundation. Fallon sings in his characteristic, hoarse voice about memories, missed opportunities and hopeful visions of the future. It is not particularly innovative, but it is incredibly enjoyable to listen to from the very first note. You can hear in everything that this musician knows exactly what his fans want to hear from him. An extremely solid album that effortlessly conveys a warm feeling. (Daniel Harris) (8/10) (Lesser Known Records)
Ezra Collective – Here Because Of Hope
The renowned London ensemble Ezra Collective presents the stunning album “Here Because Of Hope”. The group fuses afrobeat, modern brass work and vibrant jazz into a warm and exceptionally elegant musical whole. With impressive pieces such as the single “Only Love” and the sparkling “Hope”, the quintet delivers a layered journey that effortlessly bridges continents and traditions. The brass instruments sound silky smooth, while the percussion lays down an irresistible, refined groove. Guest contributions enrich the compositions without the core of the ensemble being lost. The craftsmanship shines through in a tasteful and journalistically responsible manner; the balance between emotional depth and virtuoso technique is exactly right. The harmonious transitions ensure that the album feels like a balanced work of art that you want to listen to again and again. This is jazz of an unprecedentedly high level. (Elodie Renard) (9/10) (Partisan Records)
Tim Morse – The Fourth Crossing
The step from Yes to Vangelis is not very big: Yes singer Jon Anderson once tried to recruit his Greek friend into the band after the departure of Rick Wakeman. Vangelis declined. His sound perhaps would not have really suited Yes either. American multi-instrumentalist Tim Morse must have thought the same: Morse was keyboardist in Parallels, a Yes tribute act. But the man has been making music for some time that could just as easily have appeared on a Vangelis album. “The Fourth Crossing” breathes the same atmosphere as “Antarctica”. Morse gets that sound from various analogue synthesisers that he was allowed to use from the Vintage Synthesizer Museum in Los Angeles, alongside his usual arsenal of Minimoog, ARP and Yamahas. In the dreamy opening “Submerged”, Morse immerses us in waves of long tones that unmistakably come from a Yamaha CS-80, the most frequently used instrument of his Greek example. There is also plenty of room for the Minimoog, where it all began for Morse. “Confusion in Aisle 14” is built entirely around that instrument. And with that observation, the conclusion must be that this is above all an album for lovers of electronic, ambient, new age-like music in which atmosphere is more important than composition. “The Fourth Crossing” is a collection of twelve atmospheric impressions. There is hardly any sign of fully developed songs. But for anyone who has the records of Jarre, Kitaro, Vangelis and Brian Eno on their shelf, this is a fine addition… for testing headphones. (Jeroen Mulder) (7/10) (Tim Morse)
