Album review overview: Forq, Tindersticks and more
Dozens of new albums arrive at Maxazine’s editorial staff every week. There are way too many to listen to all of them, 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.
Forq – Big Party
Forq, a spin-off from Snarky Puppy members Michael League (now replaced by Kevin Scott) and Jason ‘JT’ Thomas, led by top session musician Henry Hey, and now joined again by Snarky guitarist Chris McQueen, showcases an explosion of creativity and musical craftsmanship with “Big Party.” The album is a colourful journey through a surreal musical landscape where the funk, jazz, and experimental sounds blend into a unique experience. The opener “Into Bright” immediately sets the tone with its infectious disco vibe and sunny synthesizers. “Bomp” takes us on a Latin-tinged trip that Zappa would appreciate, while “Big 3!” effortlessly shifts between jam-jazz and instrumental indie rock. The nostalgic “Dirt Cake” sounds like the perfect soundtrack for a 70s sitcom that spirals into a jazz fusion dream. There are plenty of highlights, as is always the case with Forq. “The Grotto” transports us to an exotic lounge from a Fellini film, and “Kick the Curb” brings soul-jazz to the carnival. The heartfelt “Song for Jim,” a tribute to Jim Beard, reveals the deeper layers of Forq’s musicality. “Echo” is a beautiful ballad with phenomenal slide guitar work, while closer “Va!” delivers a joyful mix of Brazilian and West African influences. “Big Party” is an album that reveals new details with every listen. It’s a feast for the ears, both accessible and challenging, reaffirming Forq’s status as one of the most exciting instrumental acts around today. Forq is always a party, live and on CD! (Norman van den Wildenberg) (9/10) (GroundUP Music)
Tindersticks – Soft Tissue
With “Soft Tissue,” Tindersticks once again proves why they’ve held a unique place in the British music scene for three decades. The album opens strongly with the retro-tinged “New World,” an instant classic that sets the tone for what’s to come. The band retains their signature sound: a blend of melancholy orchestrations, literary lyrics, and Stuart Staples’ unmistakable whispering vocals. The highlight is undoubtedly “The Secret of Breathing,” an understated track that will surely shine in live performances. The production, as we’ve come to expect from Tindersticks, is flawless and layered. Every track on “Soft Tissue” contributes to a coherent whole, without any weak spots. With this album, Tindersticks shows they can still create relevant and emotionally charged music. They remain loyal to their roots while subtly exploring new territory, resulting in an album that feels both familiar and refreshing. “Soft Tissue” is a worthy addition to their impressive discography. (Jan Vranken) (8/10) (Lucky Dog/City Slang)
De Brassers – Live at Ancienne Belgique
“Live at Ancienne Belgique” is the ultimate farewell album from De Brassers, recorded during their sold-out farewell concert on January 19, 2024. This live album captures the intense energy and raw power of the Belgian post-punk band, with 17 tracks reflecting their musical evolution. Classics like “They Wanted Us Away” and “Kontrole” are played with unprecedented urgency, while guest appearances by Sietse Willems and Stijn Meuris add extra dynamism. The sound quality is clear, yet retains the characteristic rawness of De Brassers. The mix effectively captures the atmosphere of the evening, with the audience’s reaction amplifying the emotional weight of the concert. For loyal fans, this album is an essential document of a historic moment. For newcomers, it offers an ideal introduction to the post-punk sound of De Brassers. “Live at Ancienne Belgique” is a must-have for anyone who loves uncompromising, authentic rock. (Norman van den Wildenberg) (6/10) (Antler)
Divine Sweater – A Time for Everything
Divine Sweater’s latest album, “A Time for Everything,” unfortunately lacks the raw energy we expect from true indie. Although the band is gaining popularity in the U.S., their music is missing the authentic edge that defines the genre’s roots in cities like Birmingham’s backstreets. The vocal harmonies are tight, and the grooves are catchy, but the overall sound feels too polished. Their clean image translates into a sound that feels safe and predictable. Where I hoped for raw emotions and experimental sounds, there are mostly smoothed-out melodies. It’s clear that Divine Sweater is technically proficient, but the absence of a “difficult youth” in their sound makes the album less captivating. The songs lack the grit and urgency that often make indie so compelling. While “A Time for Everything” will undoubtedly find its audience, fans of authentic indie might need to look elsewhere for their fix of raw, unpolished music. (Elodie Renard) (5/10) (Better Company Records)
Yuri Buenaventura – Aname
Yuri Buenaventura, the Colombian salsa star who made waves in Paris, returns with his new album “Aname.” Although Buenaventura is known for his fresh take on salsa and his politically charged lyrics, this album seems to take a safer route. “Aname” is filled with the kind of salsa that has become common in South America. The album exhibits the symptoms of a genre that’s becoming a victim of its mainstream success. The tracks are smooth and well-played, adhering precisely to the rules of contemporary commercial salsa. This is music you’d expect in a dance school—technically correct but with a bit too much embellishment. It lacks the raw energy and authenticity that made Buenaventura’s earlier work so captivating. “Stef Meerder Salsa” would be a fitting description: accessible and danceable, but without real musical surprises. For fans of smooth, conventional salsa, “Aname” will undoubtedly be enjoyable. But for those hoping for the innovative spirit of Buenaventura’s breakthrough, this album might be a disappointment. (Jan Vranken) (4/10) (Vivienne Music Label)
