Album review overview: Lykke Li, Chet Baker 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.

Curses – Another Heaven

On his new album “Another Heaven,” Curses takes listeners on a dark, hypnotic journey through the post-punk landscape. Released via the renowned Italians Do It Better label, the album is a masterful fusion of 80s-inspired gothic, melancholic new wave, and raw electronic body music. The opening track, ‘Caviar,’ immediately sets the tone with haunting guitars and captivating synthesizers. The title track, ‘Another Heaven,’ builds on this with a sound that feels both nostalgic and forward-looking. The production is crystal clear and thoughtful, with each element perfectly placed within the larger picture. Highlights include collaborations with Marie Davidson on the dreamy ‘Helium’ and Skelesys on the hypnotic ‘Vanish.’ Tracks like ‘Elegant Death’ and ‘H2SG’ showcase Curses’ ability to weave danceable beats with dark melodies, while ‘Echoes’ impresses with its cinematic character. This third album confirms Curses’ status as an important player in the contemporary post-punk scene. “Another Heaven” is a coherent work that captures the essence of various dark genres and transforms them into something modern. A must-have for fans of intelligently produced, atmospheric electronic music. (Tobias Braun) (7/10) (Do It Better)

MOMO. – Gira

The seventh album by MOMO., recorded at the iconic Total Refreshment Centre, marks a refreshing turn in his career. The opening track, ‘Pára,’ immediately sets the tone with its captivating groove, where Jessica Lauren’s keyboards and Tamar Osborn’s baritone saxophone blend perfectly with MOMO.’s hypnotic vocals. The album exudes spontaneity—a conscious choice by the Brazilian-born artist who invited his London musical friends to experiment freely. Produced by Collin Dupuis, the album’s clarity allows each instrument to shine. Songs like ‘Rio’ and ‘My Mind’ showcase MOMO.’s talent for blending tropicália influences with modern jazz arrangements. The intimate “Summer Interlude” provides a perfect break between the more groove-driven tracks. What makes “Gira” so enjoyable is the natural fusion of Brazilian songwriting with London jazz innovation. The album never feels forced, flowing as an organic whole. MOMO. proves that musical cross-pollination works best from pure joy and artistic freedom. With “Gira,” MOMO. creates a fascinating musical crossroads between Brazilian roots and the vibrant London jazz scene. (Norman van den Wildenberg) (8/10) (Batov Records)

Lykke Li – ƎYƎYƎ

In “ƎYƎYƎ,” Lykke Li presents a reimagining of her 2022 album “EYEYE.” But what a reimagining; it can be considered a low point in her career. This reverse-engineered version of her 2022 album “EYEYE” is a pretentious marketing gimmick that lacks any musical substance. The concept—reversing the original tracks as was done on turntables in the 70s and 80s—sounds intriguing on paper but is utterly disappointing on CD. What remains is a disjointed collection of distorted sounds that stifle any sense of musicality. The collaboration with NATURE on ‘TЯAƎH ЯUOY OT YAWHӘIH,’ with added nature sounds, feels forced and superficial. It comes across as a cheap attempt at greenwashing. The reversed tracks are little more than an artistic gimmick that loses its novelty after one listen, and unlike an LP, it doesn’t allow you to simply listen to the songs. The entire project, including the pretentious titles with reversed letters, screams for attention without saying anything meaningful. Even the album cover is just a mirrored version of “EYEYE.” Li seems lost in her artistic labyrinth, where experimentation has become more important than authenticity. A disappointing misstep from an artist who was once captivated. (Norman van den Wildenberg) (2/10) (Play It Again Sam / Crush Music)

Marc Lavoine – Revolver

Like a mature wine that has reached its full potential, Marc Lavoine sounds in top form on his new masterpiece, “Revolver.” The French crooner, who has given the chanson a contemporary voice for four decades, has reinvented himself with an album that feels both timeless and surprisingly current. With eighteen tracks, “Revolver” might seem overly ambitious, but the opposite is true. As a seasoned storyteller, Lavoine takes us on a musical journey where each chapter has its shine. The arrangements by the National Symphony Orchestra of Bulgaria elevate the compositions to an almost cinematic level—no surprise with film composer Fabrice Aboulker on board, dressing the melodies in lush but never excessive orchestration. The highlight is undoubtedly ‘Paris,’ a duet with French-Algerian singer Souad Massi. Their voices blend like two rivers converging, with Massi’s North African vocal nuances perfectly complementing Lavoine’s warm baritone. It’s a song that portrays Paris not as a cliché city but as a metropolis where cultures and life stories merge. Jean-François Berger’s guitar work adds subtle layers, sometimes with delicate arpeggios, sometimes with bold harmonic twists that give the songs a modern edge. This balance between tradition and innovation makes “Revolver” special. It’s not a collection of songs but a carefully constructed album that demands to be heard as a whole. Lavoine proves that the French chanson is not only alive but continually evolving. “Revolver” is a bullseye, an album that already feels classic. This release underscores why Marc Lavoine remains one of France’s most intriguing voices. An essential addition to his impressive discography and without a doubt one of the musical highlights of the year. (Elodie Renard) (9/10) (Barclay/ML44)

Chet Baker – In Paris: The Complete 1955-1956 Barclay Sessions

For the seasoned jazz enthusiast, here lies a true treasure: the complete Barclay recordings of trumpeter Chet Baker from 1955 to 1956. While previous releases were limited to 31 tracks, this deluxe box set offers no fewer than 91 flawless interpretations that capture Baker’s unique sound in Paris. Baker, one of the key figures in West Coast cool jazz, demonstrates in these recordings why he was such a revolutionary force in jazz music. His intimate, lyrical trumpet playing and characteristic voice were a perfect match for the European jazz scene of that era. These Paris sessions took place at the height of his ability before his heroin addiction would overshadow his career. For those already familiar with these recordings, this collection offers few surprises—it’s the same sessions previously released in various formats. But for completists and serious Baker collectors, this box set is a must-have. The sound quality is excellent, and the presentation does justice to the historical significance of these recordings. Although the price is high, this release offers a unique and complete overview of Baker’s Parisian period. A valuable document of a jazz legend at his artistic peak, but primarily intended for the dedicated collector who seeks completeness. (Jan Vranken) (8/10) (Decca)