Album review overview: Gwen Stefani, Ice Cube and more

Dozens of new albums arrive at Maxazine’s editorial staff every week. There are too many to listen to, 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

Gwen Stefani – Bouquet

Gwen Stefani, once the queen of poppy punk with No Doubt, takes a new direction with “Bouquet.” Inspired by her relationship with Blake Shelton and her new life in the countryside, she flirts with country music. The result is a mix of ballads, love songs, and more upbeat tracks, all with a country twist. While the intention is commendable, “Bouquet” often feels like an opportunistic attempt to ride the current country trend. The album lacks the energy and originality we’ve come to expect from Stefani. Tracks like “Pretty” and “Marigolds” are pleasant but add little to the genre. The duet with Shelton, “Purple Irises,” is so saccharine it borders on painful. Not only is it Stefani’s worst track to date, but also Shelton’s. It’s as if Stefani, much like Beyoncé did previously, is trying to tap into a new audience by riding the country wave. However, this strategic move comes off more as a cheap gimmick than a genuine musical expression. While Stefani’s voice remains beautiful, the album falls short of the high expectations tied to her name. “Bouquet” is a disappointing addition to Stefani’s discography. It lacks the creativity and energy that once defined her music. Though it might achieve commercial success, it’s likely to leave true fans with mixed feelings. (Norman van den Wildenberg) (5/10) (Interscope)

Warhaus – Karaoke Moon

While the Belgian music press heaps praise on Warhaus’s fourth album, “Karaoke Moon,” we at Maxazine dare to swim against the tide. After three unbiased listens, we can only conclude: that Maarten Devoldere’s project is slowly being swallowed by the swamp of trendy Belgian indie. The marketing narrative of songs written in hypnosis for “expanded consciousness” feels more like an attempt to make the album seem more interesting than it is. The choice of regular Balthazar producer Jasper Maekelberg doesn’t pay off either – under his guidance, Devoldere seems to have forgotten how to sing. What was once his distinctive voice is now mostly mumbling buried under the production. “What Goes Up” perfectly illustrates where it goes wrong: what some might find mesmerizing is, for attentive listeners, mostly dull. For those who know Warhaus from the brilliant debut “We Fucked A Flame Into Being,” this album is a letdown. Even so, a less inspired Warhaus still delivers a decent album – though that’s perhaps not the compliment Devoldere was aiming for. (Jan Vranken) (6/10) (Play It Again Sam)

Ice Cube – Man Down

Yo, let Ice Cube do his thing! With “Man Down,” the OG drops an album that feels like we’re back in ’92, and I mean that in the best way possible. Nineteen tracks deep and not a dull moment – the veteran proves that old dogs can learn new tricks, even while staying true to their original style. The man who once gave us “Fuck Tha Police” now delivers “It’s My Ego,” and damn, that flow is still razor-sharp. Sure, it might sound a bit juvenile for a guy who could be a grandfather, but come on – since when does hip-hop need to be mature? Cube plays it commercially smart by bringing Snoop Dogg on board (as if those two ever needed an introduction), but the real surprise is the collab with Ghostface Killah, who’s also staging an epic comeback. Featuring new-school spitters like Benjamin Epps and Killer Mike, Cube bridges generations with style. “Especially You” stands out, flipping DJ Hashim’s “Al-Naafiysh (The Soul)” for a masterclass in sampling. For the OG heads, it’s pure nostalgia; for the young crowd, it’s a lesson in hip-hop craftsmanship. This album fits with 2024’s comeback wave alongside LL Cool J and Ghostface. Cube shows he’s still a force in a game he helped shape. Tight production, sharp bars, and undeniable energy make “Man Down” a solid 8/10. Think Cube’s done? Think again. (Elodie Renard) (8/10) (Lench Mob Records)

Wicked: The Soundtrack

The long-awaited film adaptation of the Broadway classic “Wicked” has finally hit the big screen, accompanied by a soundtrack that feels both familiar and fresh. While Ariana Grande as Glinda and Cynthia Erivo as Elphaba breathe new life into the iconic songs, the soundtrack doesn’t fully meet high expectations. The orchestral arrangements are grand and immersive, perfectly capturing the film’s magical world. While the most famous songs shine, some others fall flat. The decision to omit certain tracks from the original musical, like “The Wizard And I,” makes sense in the film’s context but feels like a loss for diehard fans. Though this album will delight many fans, the soundtrack might have benefitted from more innovative arrangements or new songs. Ariana Grande and Cynthia Erivo’s voices are phenomenal, and the orchestral arrangements are breathtaking. However, weaker tracks and a lack of surprises leave the album behind the film’s enchanting world. (Anton Dupont) (7/10) (Universal)

Repuked – Club Squirting Blood

Stockholm’s death metal band Repuked has delivered their third album, “Club Squirting Blood,” since their formation in 2007. Let’s be clear: this is exactly what musicians should avoid. While the death metal genre often boasts technical virtuosity and profound themes, Repuked revels in gratuitous provocation. Their obsession with perversion, reflected in titles like “Stiff Dick In A Stiff,” speaks to artistic poverty that, after 15 years, is more tiring than shocking. Recent research by psychologist William Forde Thompson shows that death metal can evoke positive emotions like strength, joy, and wonder in the right listener. Unfortunately, Repuked fails to tap into this potential. Instead, listeners are subjected to a deafening cacophony that even seasoned metal fans will struggle to endure. It’s frustrating to see a band active since 2007 clinging to this juvenile approach when heavy music has so much more to offer. This album is a disappointment to avoid for fans of quality death metal. (Jan Vranken) (1/10) (Soulseller Records)