Album review overview: The Action 4s, André 3000 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.

Jacob Alon – In Limerence

With his debut album “In Limerence,” Scottish songwriter Jacob Alon attempts to make his mark on the contemporary British folk scene. Despite the skilled production of Dan Carey, this twelve-track album proves to be a work that will primarily appeal to genre enthusiasts, while potentially leaving others indifferent. The album opens promisingly with the short “Glimmer,” followed by the atmospheric “Of Amber.” Alon’s angelic voice is undeniably the strongest element, but after “Don’t Fall Asleep” and “I Couldn’t Feed Her,” the formula begins to become too predictable. The contrast between their ethereal vocals and dark lyrics is initially intriguing but gradually loses its impact. “Confession” and “Elijah” do offer moments of genuine emotion, but “Liquid Gold 25” and “August Moon” follow too similar a pattern, causing attention to wane. In the second half of the album, Alon seems to stick to a proven recipe without really surprising. “Home Tapes” and “Zathura” are skillfully executed but lack the necessary spark to rise above average. “Fairy In A Bottle” is perhaps the most ambitious track, but by the time “Sertraline” closes the album, the listener may have already checked out. For dedicated folk lovers, “In Limerence” contains enough craftsmanship and subtle nuances to appreciate, but for a wider audience, it offers too few surprises to truly resonate. (Norman van den Wildenberg) (6/10) (Strip Joint Glasgow)

Steve Adorno & Lori Rose – Espirito: A Brazilian Music Fantasy

Kid Creole and the Coconuts. There. Now you know where to place Steve Adorno. The man is not only a composer and producer but primarily a drummer, and one who is at home with Latin rhythms like no other, as evidenced by his discography, where, besides the already mentioned Kid Creole, we find artists like Kool and the Gang and Chic. With “Disco Nights,” he even achieved platinum status with G.Q., at least in the US – in our country, it will ring a bell with a few. Anyway, it should be clear: put on a record with Adorno behind the kit and you’ve got an instant party. “Espirito” contains no surprises in that regard. Hang up the streamers and prepare the Pitú Cachaça. On “Espirito,” Adorno is assisted by singer Lori Rose, and honestly, it all just sounds good. From the opener “Sad Sad Sister Sister” to “Starlight Star-Bright,” we are pleasantly immersed in salsa, rumba, samba, and bossa nova. All the necessary ingredients are present, including funky guitars, incessant congas, and good horn sections. Moreover, Adorno knows to whom he is indebted: “Sergio’s Samba” is an ode to the godfather of the genre, although this record cannot remotely measure up to a legendary album like “Look Around” that Mendes recorded with Brazil ’66 in 1967 (and subsequently fired the entire band). But “Espirito” is good enough. Good enough for a beautiful summer. Our sweaty bodies sway into the night, sipping a final cocktail while Adorno starts another bossa. There’s a gentleman that’s going round, turning the joint upside down… (Jeroen Mulder) (7/10) (Onroda MusicWorks)

André 3000 – 7 Piano Sketches

André 3000’s new album “7 Piano Sketches” is exactly what the title promises: seven unfinished piano ideas that you either find fantastic or cannot appreciate at all. There’s no middle ground here. The recordings sound as if they were made with a simple recorder in his kitchen. The pieces never progress beyond a first sketch – the beginning of an idea that isn’t developed. In the third piece, you briefly hear some potential, but then it fades back into hesitant plinking. For the man who pushed musical boundaries with OutKast, this is a strange turn. Of course, you grant an artist their creative freedom, but sometimes you can’t shake the feeling that this must be a joke. It probably isn’t. After his previous solo venture, “New Blue Sun” with flute compositions, these piano sketches feel even more incomplete. They lack direction and conviction. Let’s be honest: much better piano albums are currently being released. Those who want to hear André 3000 at his best should return to the OutKast classics, where his eccentricity came into its own in finished, fascinating compositions. (Jan Vranken) (3/10) (Epic)

The Action 4s – The Action 4s

On the cover of this debut album, Mathias Heise, Anton Eger, Rasmus Sørensen, and Conor Chaplin are depicted as action figures. The album is a logical follow-up to successful performances primarily in Denmark, the home country of The Action 4s. These performances even prompted critics to use the qualification “supergroup,” which directly explains the cover image. Then there’s only one question that needs to be asked: Does The Action 4s deliver? Short and concise: yes. The quartet blends jazz with rock, funk, and electronic music, with Heise’s harmonica consistently taking a prominent place. It’s especially the energy that works infectiously and makes you understand why this must be a sensational life. It’s also notable how technically virtuosic the men are. Heise’s graceful harmonica, Chaplin’s incredible bass lines, Sørensen’s dynamic piano playing, Eger’s tireless drumrolls. Pieces like “The Mikster” and “Smoothie” cannot be experienced sitting still. Technically virtuosic, but also very accessible. In that respect, the record has no weak tracks. Highlights are “IOEDWLTO” – on which Heise also takes care of the synthesiser part – with a surprising twist that makes the piece almost miraculously change atmosphere halfway through, and “Searchlight Theory,” which has a delightful fusion theme but above all shines through sublime interplay between harmonica and bass. Did we already mention the drumming? Masterful on “Eclectic Horizons.” We really don’t have enough ears. (Jeroen Mulder) (9/10) (April Records)

Kali Uchis – Sincerely,

Two years after her beautiful “Red Moon in Venus,” Kali Uchis returns with “Sincerely,” her first entirely English-language album. This time, she creates a collection of dreamy, downtempo songs perfect for the late hours. Uchis’ angelic voice floats effortlessly over richly orchestrated neo-soul compositions. The influences are diverse: from Kate Bush to Clannad, all perfectly blended into her recognisable sound. Unlike her previous album “Orquídeas” with its vibrant Latin rhythms, she now opts for a more subdued atmosphere. Motherhood has left its mark on this album. On the beautiful closing song “ILYSMIH,” she sings candidly about how her baby changed her perspective, concluding with the sound of a laughing child. Highlights are the jazzy “Silk Lingerie” and the sparkling “Territorial,” where her honey-sweet voice perfectly merges with pizzicato strings. Only “Lose My Cool” could have been shorter than six minutes. “Sincerely,” is a timeless musical balm for a restless world – an intimate album that reveals more with each listen. (Elodie Renard) (8/10) (UMG)