Album review overview: Cocobolo, Seun Kuti & Egypt 80 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.

Cocobolo – Consider It Done

Cocobolo’s debut album “Consider It Done” is out! A refreshing dive into a musical playground where nostalgia and innovation go hand in hand. This Dutch trio takes listeners on a colourful journey through a landscape of surf rock, 60s soul, and 90s hip-hop, all fused into a unique ‘modern vintage’ sound. The opener “Elderflower” immediately sets the tone with its infectious mix of Shadows-like guitar lines and subtle reggae influences. Each track feels as they describe it, like a carefully constructed Lego creation, full of surprising twists and playful details. The instrumental compositions are far from dull; they tell stories without words, with the music itself functioning as a universal language of imagination and freedom. Inspired by artists like Menahan Street Band and Yussef Dayes, but with a unique sound, Cocobolo proves that instrumental music can be just as captivating as the most catchy pop song. “Consider It Done” is a triumph of creativity and craftsmanship, an ode to the boundless imagination of childhood translated into mature musicianship. It’s an album for dancing and for listening, with each play revealing a new layer. (Norman van den Wildenberg) (8/10) (V2 Records)

AJ Plug – Underneath Your Skin

Singer AJ Plug’s new album is titled “Underneath Your Skin”. She has survived cancer, but that doesn’t mean it has left her life. This becomes clear during the opening track, “Part Of Me”. The pleasant rhythm provides positivity and strength. “Hold Me” is sung with sensitivity. It starts calmly but becomes faster and more powerful. “Now You’re Gone” has a beautiful intro. The lovely flow is enhanced by mesmerizing guitar play. The catchy rhythm will make “Mistaken” a crowd-pleaser during performances. The powerful ballad “Your Love” perfectly balances the calm flow and lightly screaming guitar. “Here To Stay” begins softly with acoustic guitar and violin sounds, complemented by clear vocals. The tempo and volume increase, and this song too has a positive vibe. The build-up and endings of some tracks are a bit predictable, but the intros are often well-chosen. The recognizable, sometimes slightly cliché lyrics are sung. “Underneath Your Skin” can be a source of comfort for those who have experienced similar hardships. (Esther Kessel-Tamerus) (8/10) (Independent Release)

Tord Gustavsen Trio – Seeing

In the rich landscape of Scandinavian jazz, the Tord Gustavsen Trio remains a beacon of refined contemplation. Their new album “Seeing”, released in October 2024, reaffirms their unique position at the intersection of jazz, Norwegian church music, and meditative sounds. With the addition of bassist/electronic artist Steinar Raknes, the trio has found a new dimension in their characteristic sound. “The Old Church” exemplifies their approach: Gustavsen’s piano sketches a series of thoughtful chords that immediately capture the imagination, while Raknes’ bass sustains tension like icy water droplets. Drummer Jarle Vespestad, Gustavsen’s long-time companion of over twenty years, adds subtle textures that elevate the whole. The title track “Seeing” showcases the trio’s remarkable ability to evoke a world of emotions and tension within a seemingly limited musical spectrum. The compositions breathe Norwegian tradition but transcend geographical boundaries with their universal expressiveness. This album is a standout in the recent Scandinavian jazz scene. For lovers of contemplative jazz and neoclassical music, “Seeing” offers a profound listening experience that continues to captivate, even after repeated listens. It is one of the most impressive releases of 2024. (Jan Vranken) (9/10) (ECM Records)

Seun Kuti & Egypt 80 – Heavier Yet (Lies The Crownless Head)

On his latest album, Seun Kuti, the youngest son of Afrobeat pioneer Fela Kuti, once again proves why he remains one of the key keepers of his father’s musical legacy. As the leader of the legendary Egypt 80 band – the same ensemble that once accompanied his father – Seun delivers a powerful return to the fundamental sounds of Afrobeat. In an era where Afrobeat is enjoying a global resurgence, with bands like Antibalas carrying the torch, Seun Kuti consciously chooses to return to the roots of the genre. This album serves both as a masterclass and a compass, guiding newer musicians toward the authentic source of the everlasting Afrobeat rhythms that originated at The Shrine in Lagos, where the Kutis made their mark. The production of the album captures the raw energy that made Fela’s recordings so compelling. The interplay between the horn sections follows the classic call-and-response patterns that defined the genre, while the pulsating drums drive each track with an intensity reminiscent of the golden era of Afrobeat. While James Brown may have borrowed elements of this sound, “Heavier Yet” reminds us that its true origin lies in Nigerian soil. The highlight “Dey” could easily have fitted on any of Fela’s classic albums and showcases Seun’s deep understanding of the family tradition. Since joining Egypt 80 before his twelfth birthday and taking over the band after his father’s death in 1997 (as per Fela’s wishes), Seun’s connection to this music goes beyond mere inheritance – it’s in his blood. This return to a purer Afrobeat sound does not represent a step back but rather a reaffirmation of the genre’s power. The album benefits from Seun’s two decades of experience as leader of Egypt 80, a band that still includes many members from his father’s time. These veterans, who once shared stages – and jail cells – with Fela during political protest, bring an unparalleled authenticity to the recording. “Heavier Yet” is a testament to Seun’s dedication to preserving and continuing the Kuti legacy while demonstrating why Afrobeat’s fundamental sounds remain as vital and relevant as ever. It’s a rich, rewarding album that proves the Kuti flame still burns brightly in the hands of its youngest torchbearer. (Jan Vranken) (8/10) (SKE80 LLC)

Guido Belcanto – Tedere Baldadigheden

What do you get when you let an elderly troubadour turn his adolescent thoughts into cowboy music? The answer is: Guido Belcanto’s latest ‘masterpiece’ “Tedere Baldadigheden”. And by ‘masterpiece’, we, of course, mean the opposite. Three years after the less-than-uplifting “In de Kronkels van mijn Geest”, the self-proclaimed folk singer has decided to treat his audience to thirteen new gems of crudeness. The album reaches its intellectual peak with the song “Broekjes aan de Lijn”, where the maestro shares his deepest philosophical insights with lines like ‘Your panties are hanging to dry on the line, I also enjoy looking at that.’ Shakespeare, eat your heart out. The creative depth continues in songs like “Sex op Vreemde Plaatsen” and “Vaginale Vakantie” – titles that belong more in the notebook of a hormonal teenager than in the repertoire of an artist of his age. But Belcanto doesn’t care. Why should he? In his mind, he’s a cultural phenomenon. The musical accompaniment is, in typical fashion, no more than functional cowboy music that serves as a vehicle for his juvenile poetry. The whole thing is on the level of a mediocre carnival attraction, which is fitting since Belcanto himself is increasingly becoming a walking carnival act. Admittedly, this will undoubtedly sound like pure art after five Belgian beers on a Sunday afternoon at the fair. But the same can be said for the neighbour’s rooster’s crowing. Belcanto couldn’t care less – he remains unshakably himself, indifferent to all criticism or good taste. For anyone still in doubt: this album is about as serious as a politician on TikTok. But it will undoubtedly be a big hit. As H.L. Mencken once said: ‘No one ever went broke underestimating the taste of the American public.’ (Jan Vranken) (4/10) (Cluster-Park)