Album review overview: Lucinda Williams, Lauren Mayberry 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

Lucinda Williams – Sings the Beatles from Abbey Road

As a veteran of American roots music, Lucinda Williams, recovering from a 2020 stroke, embarks on a pilgrimage to Abbey Road. The result? An intimate encounter between her weathered voice and the sacred songbook of The Beatles. “Lucinda Williams Sings the Beatles from Abbey Road” transforms familiar melodies into personal confessions. In “Let It Be,” every syllable feels steeped in bourbon and life experience—a hymn that finally finds its redemption in Williams’ cracked timbre. Harrison’s “Something” undergoes an even more impressive metamorphosis, becoming a love letter written in the small hours of a sleepless night. Not every interpretation strikes that magical chord, but Williams’ authenticity shines through, even in imperfections. This is not a revolutionary album but a warm tribute to timeless songs, proving once again why they are eternal. An album like a glass of aged whiskey: familiar, yet still capable of surprising. (Anton duPont) (6/10) (Highway 20 Records)

Lauren Mayberry – Vicious Creature

Straddling the line between indie-electronica and pure pop, Lauren Mayberry emerges like a butterfly finally leaving its cocoon. With “Vicious Creature,” the Chvrches frontwoman delivers a surprisingly versatile debut album that sparkles like a freshly cut diamond in December light. Opening track “Something in the Air” sets the tone immediately—a crystal-clear voice weaving through a forest of modern production, with Mayberry’s signature soprano nestling effortlessly into the refined sounds crafted by Dan McDougall. The production is cutting-edge, but it is the personal stories and feminist undertones that give the album its soul. The twelve tracks form a kaleidoscope of styles, from theatrical musical influences to sharp pop-punk excursions, all united by Mayberry’s authentic voice and sharp pen. Her collaborations with producers like McDougall prove golden—every track sounds like a potential radio hit without sacrificing artistic integrity. This is no half-hearted solo venture but a mature artistic statement that suggests Mayberry’s future might extend beyond Chvrches. An impressive debut that leaves you wanting more. (Jan Vranken) (8/10) (Universal)

Emilia Sisco – Introducing Emilia Sisco

With “Introducing Emilia Sisco,” this Finnish singer presents an album that floats between tribute and cautious exploration of the soul and rhythm & blues landscape. The “Cold Diamond & Mink” production wraps Sisco’s voice in a warm, analogue glow, instantly transporting listeners to the golden days of soul music. On tracks like “Don’t Believe You Like That” and “Trouble,” Sisco showcases undeniable vocal talent, her voice steeped in the traditions of greats like Aretha Franklin and Etta James. The production is skillfully executed, with an authentic vintage texture that suits the Timmion Records sound. However, where these musical forebears lay bare their souls in every note, Sisco seems to be searching for her own voice. The opener “Say Yes” exemplifies the album—technically flawless but somewhat reserved in emotional delivery. It’s as though we’re witnessing an artist not yet fully breaking free from the constraints of her influences. While Sharon Jones transformed every song into a raw diamond of pure emotion, Sisco’s interpretations often play it safe. This debut is undeniably a pleasant album that commands respect for its craftsmanship, but it lacks that final push toward greatness. A promising start that leaves room for growth. (Elodie Renard) (7/10) (Timmion Records)

Nils Frahm – Paris

In the serene architecture of the Philharmonie de Paris, “Paris” unfolds as a masterpiece crystallizing Nils Frahm’s artistic evolution. This concert album, recorded in March 2024, strikes a delicate balance between contemplation and virtuosity, where acoustic warmth merges with electronic soundscapes. Like a modern alchemist, Frahm transforms the concert hall into a sound laboratory. The opening with a glass harmonica drifts like an ethereal mist through the space before blending into his signature piano work. Remarkably, with his back turned to the audience, he creates an intimate experience for two thousand souls—a paradox highlighting his artistic vision. The album weaves a tapestry of memories, seamlessly blending pieces from “Some” and “Spells” with “Opera,” perhaps the album’s most thrilling piece. Every work undergoes a metamorphosis in his hands, as though the scores are living organisms adapting to the moment. What makes “Paris” special is the organic fusion of structure and spontaneity, where Frahm’s technical mastery never overshadows his emotional eloquence. It is an album that attests to an artist at the peak of his powers. Not pop music, but quinoa for the soul. (Jan Vranken) (9/10) (Leiter)

Kitschkrieg – German Engineering Zwei

Following the path of German perfection, the producer collective KitschKrieg delivers a refined journey to the heart of the American trap scene. This new album is a delicate fusion of European electronic finesse and the raw energy of Atlanta’s musical landscape. While their earlier work featured an eclectic array of collaborations, this album presents a more focused vision. Producers Fiji Kris and Fizzle craft a coherent soundscape where Atlanta’s finest feel at home, as evidenced by Future’s characteristic auto-tuned melancholy and Mariah The Scientist’s ethereal vocals on “Too Fast.” Every track feels like a carefully calibrated meeting of two worlds, executed with German precision. Particularly impressive is how KitschKrieg retains its electronic DNA while navigating southern trap waters. Tracks like “Sky High” pulse with rave energy, while the closing “Berlin Perm” forms a hypnotic techno odyssey bridging Berghain and Magic City. The production is crystal clear, the collaborations thoughtful, and the balance between innovation and accessibility superb. Some tracks could use more edge, but the overall execution is impressive. German thoroughness at its best. (Elodie Renard) (8/10) (Soulface Records GMBH)