Album review overview: Sun Ra, Irma 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.
Checking For Echo Project – The Scattering of Leaves
The falling of leaves is often seen as negative, but in truth, it marks the beginning of new growth. Change leads to growth. “The Scattering of Leaves” is a thank-you to loved ones who shine like stars in the dark, supporting and guiding us. The instrumental opening track is melancholic. The vocal “The Scattering of Leaves” is soothing but also features lightly rocking guitar work. The high (layered) and blended keyboard tones give “Venus” a unique atmosphere. With the ticking of a clock, “The Ticking Clock” seems to end, but it continues. The “classical” wordless vocals align beautifully with the music. A blend of atmospheric elements and light rock follows. The lyrics of “Stormy Clouds or Brightly Lit” are romantic, and its ending is quite unexpected. The various vocalists have clear pronunciation, and the lyrics are not overly heavy. Most transitions are gradual, which fits the calm nature of this album. The net proceeds of “The Scattering of Leaves” will be donated to two cancer charities: Maggie’s in the United Kingdom and KWF in the Netherlands. (Esther Kessel-Tamerus) (7/10) (Independent production)
BSDE 4TET – Live at Parma Jazz Frontiere
The Dutch-Italian ensemble BSDE 4TET combines free jazz and hard-bop to create music that may not be universally understood. This is jazz with a purpose. The compositions are often inspired by significant events and serve as emotional interpretations of those occurrences. According to the group, BSDE 4TET’s jazz must have meaning and invite deeper reflection. A prominent role is played by the saxophone of Daniele Nasi, an alumnus of Groningen’s Prince Claus Conservatory. His versatile playing is undoubtedly leading, but it does not make understanding the pieces any easier, especially since they are sometimes interrupted—for instance, by a phone call in the opening track “Drowning in Guilt.” The conversation is between someone on a refugee boat and the Italian coast guard. A voice reports that there are a hundred people on the boat, while the music calmly ripples along. Or “Waltz for Palestine,” which initially begins cheerfully with playful interaction between piano and tenor sax but ultimately ends with tones that fade away slowly. This is jazz that challenges, is sometimes outright uncomfortable, but as a statement, it undoubtedly resonates. (Jeroen Mulder) (7/10) (GleAM Records)
Strawberry Girl – Sugar Cookie
You’d think it takes some skill to make an EP of barely ten minutes feel like a long haul. Yet Strawberry Girl manages to do so with her latest EP, “Sugar Cookie.” The vocals have been edited so heavily after recording that it has the opposite of the intended effect. Where they may have aimed to correct it, the result is a complete miss. Despite the EP’s short runtime, it’s striking how “Very Merry Girl” ends abruptly, leaving you wondering, “Did I hit pause?” The melodies are equally generic. Originality is nowhere to be found. Even if you like strawberries, this “Sugar Cookie” is hard to digest. (Rik Moors) (2/10) (Records DK)
Sun Ra – Lights on a Satellite: Live at the Left Bank
The concerts of keyboardist, composer, and bandleader Sun Ra, complete with a robust big band and even dancers, must have been enormous events. “Lights on a Satellite: Live at the Left Bank” is a recording of a concert he gave on July 23, 1978—Ra was already 64 at the time—at Baltimore’s Left Bank Society, together with his “Myth Science Cosmo Swing Arkestra.” Performances had to be of intergalactic grandeur, with an emphasis on intergalactic—a remnant of a vision in which Sun Ra claimed to have visited Saturn in his youth. The influence of mind-altering substances cannot be ruled out, but as often happens, this resulted in music that explores the boundary between genius and “completely out there.” This recording is no exception, featuring Sun Ra and his Arkestra at their best. Percussion and synthesizer tones from Ra’s keyboards set the stage, quickly igniting into “Tapestry from an Asteroid,” with complex free jazz improvisations (the original is just two minutes long, but here it’s stretched to over twelve). Other highlights include the big band celebration of “Big John’s Special” and the unique interpretation of Thelonious Monk’s “Round Midnight.” Sometimes offbeat, but absolutely brilliant. (Jeroen Mulder) (8/10) (Resonance Records)
Irma – 11:24
In the delicate tension between authenticity and commercial allure, Irma’s latest album, “11:24,” unfolds as a layered portrait of an artist in transition. Where her musical journey began as the intimate story of a young, talented musician from Douala conquering Paris with nothing but a guitar and raw emotion, this album presents a more complex, produced version of herself. The record exudes the tension of an artist balancing her original promise—the vulnerable singer who captivated YouTube with acoustic covers—and the polished pop star she seems to have become. Each track feels like a negotiation between her authentic self and the music industry machine that has embraced her. Technically, the album is brilliantly produced, with sound layers showcasing top-tier musical expertise. At the same time, it feels as though the raw emotion that characterized her early work has been smoothed over by autotune and streamlined arrangements. It’s as if Irma’s original voice is whispering behind a screen of perfect production. While tracks from “Letter to the Lord” breathed the vulnerability of an artist laying her heart bare, the songs on “11:24” feel staged and directed—more a musical concept than personal expression. Yet, beneath the polished layers, her talent as a multi-instrumentalist and original artist still shines through. “11:24” is not a regression but a complex evolution—an album as much about artistic growth as it is about potential compromises. It’s a collection of songs that impress while making you long for the girl with her guitar in the Paris metro. I understand it, but I miss the Irma of 13 years ago. An album of loss and gain. Of transformation. Of Irma. (Jan Vranken) (7/10) (Irma)
