Album review overview: Ane Brun, Cro-Mags 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.

Krill – Secret Language

Krill are back after ten years of silence, and it is simply wonderful to hear them again. On “Secret Language”, you hear the band, now based in Chicago, as a trio consisting of Jonah Furman, Ian Becker and Andrew Clinkman. The album features nine tracks about family, fatherhood and destined love, and was recorded with producer Seth Engel. For the first time, the band brought in other musicians: Macie Stewart on violin, Maria Jacobson on backing vocals and Will Greene on saxophone. “Dominate” slides from nostalgia to the basketball of the Jordan years before landing on the war on terror, with those distinctive angular guitars. The title track, written from the perspective of the bedtime ritual with his children, is the beating heart of the record. “Porch”, “Snails” and “Theme from Krill 2” also maintain the tension with their angular, nervous sound. It is clever, warm and occasionally biting, exactly what you would hope for from a band like this. Bands that have been away for so long rarely return with such confidence. You do not have to be a fan from day one to sing along. Simply a brilliant comeback. (Daniel Harris) (8/10) (Exploding in Sound)

2hollis – Pirouette

On “Pirouette”, 2hollis reveals a more vulnerable side than on previous records. It is the fifth album by the American producer and singer, released through Interscope, and features sixteen tracks. According to him, it is the first record on which he has personally experienced love, and this translates into stories about falling in love, jealousy and heartbreak. Musically, the tension between darkness and euphoria remains, with heavy percussion, industrial techno, distorted guitars and glitches alongside pop with glossy synthesizers. This restlessness is characteristic of him and ensures that the record continues to surprise, even though he does not radically change his approach. Fluid transitions hold everything together, even when the production sounds harsher and messier than before. The artwork by Yoshitaka Amano suggests a broader world view, but musically this is more a step forward than a reinvention. Its length means that some ideas remain unfinished and the results are uneven. Those who already follow him will hear an artist daring to reveal himself more openly without losing his rough edges. Nevertheless, “Pirouette” is a carefully constructed and compelling addition to his catalogue. (Norman van den Wildenberg) (7/10) (Interscope)

Lee Ritenour – Live at Ronnie Scott’s

Lee Ritenour may not be a name that immediately springs to everyone’s mind. Nevertheless, this now venerable 74-year-old jazz guitarist has built up an impressive body of work over the past fifty years, which lovers of quality jazz should certainly take the time to discover. Ritenour is nicknamed “Captain Fingers”, and on this fine live album he once again proves that the name was not chosen without reason. Expect an album full of exotic excursions, with rock and Brazilian music serving as its foundations. A crossover that not every jazz purist appreciated from Ritenour. The bossa nova of Brazilian musical culture has clearly influenced Ritenour’s playing, giving the tracks a warm sound and a flowing rhythmic structure. The opening track “Crave e Canala” immediately sets the tone, allowing bossa nova and samba elements free rein. On his trusted Gibson guitar, Ritenour gives the song extra colour alongside singer Tatianna Parra. It is precisely this combination of diverse influences that takes such beautiful shape throughout the album. Brazilian influences, the energy of jazz fusion and lively grooves make this album an enjoyable listening experience, which also brings a welcome dose of sunshine during the current dark days, when daylight is becoming increasingly scarce. (Bart van de Sande) (8/10) (Artone Music Group)

Cro-Mags – The Age of Quarrel: 40 Years of Quarrel

Harley Flanagan reclaims his own classic, and it smells of sweat and justice. “The Age of Quarrel: 40 Years of Quarrel” is a complete re-recording of the 1986 debut, which once passed the band members by without any royalties. Now the songwriters finally get paid through the new version, with the rest going to charity. Producer Arthur Rizk, known for Power Trip and Blood Incantation, gives the old songs a weight that the original could only have dreamed of. “We Gotta Know” pits guitarists Dave Sharp and Doug Holland against each other with thick riffs and driving rhythms, while “Show You No Mercy” sounds as if time has stood still. “World Peace” and “Malfunction” follow the same rough path, and “It’s the Limit (2026)” gets an extra boost from Meg Mills of Turnstile. Flanagan’s voice resembles the one from back then, but sounds just different enough to make it his own. This does not replace the original album, nor does it need to. For fans of New York hardcore, this is simply essential listening. It is a heavy, honest conclusion to a long-standing score. (Anton Dupont) (8/10) (BLKIIBLK)

Ane Brun – I Thought We Were the Same

Ane Brun has been steadily building an exceptionally strong body of work for 23 years. Brun also has quite a few fine performances to her name. By now, she has become ‘Sara’, and her music has undergone a transformation. The girl with the guitar has made way for an artist whose guitar has receded into the background and whose personality comes more emphatically to the fore: freer and more dynamic. The electronic style she has been applying since her 2015 album “When I’m Free”, how appropriate, fits this development perfectly. As often before, this album is also about connection, trust and finding your own identity. In “Reevaluating You”, Brun shares her philosophical perspective on trust and vulnerability. This suits the atmosphere of the song without becoming preachy. The album opens strongly with the catchy, minimalist “Hold Me”. This is followed by the flowing “Eat the Fruit”, which she made together with Röyksopp. When the album slows down, there are moments when the guitar would have been more appropriate. The electronic vibe does not cover everything then. All in all, this album is a fine addition to Ane Brun’s already impressive body of work and makes for thoroughly enjoyable listening. (Bart van de Sande) (7/10) (Balloon Ranger)