Album review overview: Marc Lavoine, Lykke Li 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.

Photo (c) Jorge Fakhouri Filho

Curses – Another Heaven

In his new album “Another Heaven,” Curses takes us on a dark, hypnotic journey through the post-punk landscape. Released via the renowned Italians Do It Better label, this album is a masterful fusion of 80’s-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 upon this with a sound that feels both nostalgic and forward-thinking. The production is crystal-clear and meticulously crafted, with each element finding its perfect place within the larger whole. Highlights include collaborations with Marie Davidson on the dreamy “Helium” and Skelesys on the hypnotic “Vanish.” “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 a key player in the contemporary post-punk scene. “Another Heaven” is a cohesive work that captures the essence of various dark genres, transforming it into something contemporary. A must-have for fans of intelligently produced, atmospheric electronic music. (Tobias Braun) (7/10) (Do It Better)

MOMO. – Gira

The seventh album from 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 immersive groove, where Jessica Lauren’s keyboard work and Tamar Osborn’s baritone saxophone blend seamlessly with MOMO.’s hypnotic vocals. The album breathes spontaneity—a deliberate choice by the Brazilian-born artist, who invited his London musical friends to experiment freely. The production, handled by Collin Dupuis, is crystal-clear, allowing each instrument to shine. Tracks like “Rio” and “My Mind” demonstrate MOMO.’s ability to blend tropicália influences with modern jazz arrangements. The intimate “Summer Interlude” provides a perfect pause among 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 and flows as an organic whole. MOMO. proves that musical cross-pollination works best when it arises 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

On “ƎYƎYƎ,” Lykke Li presents a reimagining of her 2022 album “EYEYE.” But what a reimagining; it could well be called a low point in her career. This reverse-engineered version of her 2022 album “EYEYE” is nothing more than a pretentious marketing stunt, lacking any musical substance. The concept—reversing the original tracks as one would do on a record player in the 70s and 80s—sounds interesting on paper but is outright disappointing on CD. What remains is a disjointed set of distorted sounds that suffocate any sense of musicality. The collaboration with NATURE on “TЯAƎH ЯUOY OT YAWHӘIH,” which incorporates nature sounds, feels forced and superficial, coming across as a cheap attempt at greenwashing. The reversed tracks are merely an artistic gimmick that loses its novelty after one listen, and they suffer from the downside of not being easily playable like LP tracks. The entire project, including the pretentious titles with reversed letters, screams for attention without saying anything meaningful. Even the album cover is nothing more than a mirrored version of “EYEYE.” Li seems lost in her artistic maze, 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 matured wine that reaches its full potential, Marc Lavoine sounds on his new masterpiece “Revolver.” The French crooner, who has given a contemporary voice to chanson for four decades, has reinvented himself with an album that feels both timeless and surprisingly current. With eighteen tracks, “Revolver” could have buckled under its ambition, but the opposite is true. As a seasoned storyteller, Lavoine takes us on a musical journey in which each chapter has its brilliance. The arrangements by the Bulgarian National Symphony Orchestra elevate the compositions to a nearly cinematic level—no surprise with film composer Fabrice Aboulker onboard, dressing the melodies in a lush yet never excessive orchestral layer. The highlight is undoubtedly “Paris,” a duet with French-Algerian singer Souad Massi. Their voices merge like rivers, with Massi’s North African vocal nuances perfectly complementing Lavoine’s warm baritone. It’s a song that sings of Paris not as a cliché city but as a metropolis where cultures and life stories blend. Jean-François Berger’s guitar work adds subtle layers to the whole, sometimes with feather-light arpeggios, at other times with bold harmonic twists that give the songs a modern edge. This balance between tradition and innovation makes “Revolver” so special. This is no collection of loose songs, but a carefully constructed album that demands to be listened to as a whole. Lavoine proves that French chanson is not only alive but continues to evolve. “Revolver” is a bullseye, an album that already feels like a classic. This release underscores why Marc Lavoine remains one of France’s most intriguing voices after all these years. An essential addition to his impressive discography and undoubtedly 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)