By Maxazine South Africa 
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
The Dead And Living – Damage
The Dead And Living is a Swedish band that plays a mix of rock, punk, goth and folk. However, the emphasis is on goth rock. “Damage” is the follow-up to the album “The Author’s Curse” released six years ago. This mini-album comes at a good time, as there has been a revival of the goth rock genre in the last few years. I don’t know if it’s due to the polar nights or the general darkness, but the fact is that Scandinavian countries produce better goth rock bands than countries elsewhere in the world. The Dead And Living doesn’t rely on musical prowess or virtuosity. The focus and strength of The Dead And Living lies in the vocals. The singing of Coroner and the female choirs and (background) vocals. The emphasis is on creating a dark atmosphere, and The Dead and Living succeeds particularly well in this. The best songs are saved for last. “Demons Till I’m Dead,” which is musically more exciting than the other 3 songs, and the closing track “Army Of Mankind,” which is a cross between Cradle Of Filth and Rammstein. Fans of Type O Negative, Cradle Of Filth, and a ‘darker’ Nightwish can purchase this mini-album with confidence. “Damage” gets a 7 from me because the album is not of consistent quality. The highlights, which are there, are too scarce. Especially considering that there is six years between this album and the previous one. There’s more in it than we’re hearing now. (Ad Keepers) (7/10) (Rexius Records)
Robbert Duijf – Silver Spoon
Robbert Duijf won the European Blues Challenge for bands last year. Robbert plays and sings/tells from his heart and makes pure, acoustic songs. His music is a mix of delta blues, gospel and a touch of British-American folk. “Silver Spoon” is an old-school album with one-track recordings and few overdubs. This allows the pure songs to come into their own. The album contains 12 songs, including two covers. Robbert’s pleasant voice (which sometimes has a rough edge) forms an excellent blend with the background vocals. However, they are occasionally predictable. You tap along automatically to the predominantly calm flow of the music. “First train out” is an ode to his hometown; there’s desperation in his voice. The songs contain beautiful turns, you feel the emotion in the subdued parts. Vocals and music complement each other, the percussion contains nice details. Robbert’s singing in “The General” is fantastic, as is the a cappella singing in “Those Days”. “Silver Spoon” is a fine interlude in the hustle and bustle of the day. (Esther Kessel-Tamerus) (7/10) (NAKED)
Tristan – Frou-Frou
The core of Tristan has been formed for years by keyboardist Coen Molenaar, bassist Frans Vollink and drummer Sebastiaan Cornelissen. For this eighth album, “Frou-Frou,” the formation is complemented by guitarist Glenn Black and vocalist Irma Derby. If there’s one thing that can be said about this new album, it’s that the joy of playing radiates from it. From the first notes of opener “Changes” to “Circumstances,” you can hear that the band worked with maximum joy on the compositions that primarily rely on funk, although Tristan themselves call it a mix of funk, R&B and acid jazz. The funk is there: Black’s rhythmic Nile Rodgers-like playing is defining in many tracks, while Vollink playfully curls his bass lines through it. It’s a sound reminiscent of the better productions of the Ashford and Simpson couple. Listen to “The Boss” by Diana Ross and then put this on. Seamless. That’s not least because of Derby’s vocal sound. Where some R&B singers lose themselves in too many frills, Derby – without wanting or being able to compare her to La Ross, which would be pure blasphemy – knows how to dose. Thank heavens, because all too often, good compositions are murdered by an amount of intense acidifying ad-libs. The temptation is there, as in “Will You Ever Stay,” but Derby also sings this deliciously ‘clean’ and lets the music do its work, including a delightful piano solo by Molenaar. And speaking of piano: on “I’m Gonna Love You Just a Little Bit More,” Derby is accompanied only by Molenaar, which produces a true, albeit sugary-sweet – and there’s nothing wrong with that from time to time – pearl. Funk and soul are present, but what about that promised jazz? In the instrumental tracks “Confuse Me” and the title track “Frou-Frou,” we hear the jazz-rock influences, with catchy improvisations by Black and Molenaar on the Fender Rhodes. All in all, an excellent, varied production that will again do well live. (Jeroen Mulder) (8/10) (Isolde Records)
L.A. Guns – Leopard Skin
L.A. Guns, the legendary hard rock band from which Guns N’ Roses partly emerged, released their sixteenth studio album, “Leopard Skin”, this week. The current lineup, with founder Tracii Guns and singer Phil Lewis as the core, delivers exactly what you expect from them. From the album cover to song titles like “Lucky Motherfucker” – everything breathes cliché, but that’s precisely the charm. The guitar riffs, the falsetto yells; it all belongs, and it’s skillfully executed. At a summer barbecue with some beers, “Leopard Skin” will undoubtedly create a pleasant atmosphere. L.A. Guns does what they can, and they do it well, although the album is not groundbreaking in musical terms. For fans of the genre, the band remains relevant by consistently releasing new material. Although they no longer reach the commercial heights of yesteryear, they have a loyal following that appreciates their dedication to the hard rock sound. For others, however, it remains a somewhat superfluous album in an overcrowded market. (Jan Vranken) (6/10) (Cleopatra Records)
Chesney Hawkes – Living Arrows
Chesney Hawkes, the British one-hit wonder who dominated the charts in 1991 with “I Am the One and Only,” is back with his fifth studio album “Living Arrows.” This album, originally planned for 2021 but only released in 2025, is produced by Jake Gosling, known for his work with Ed Sheeran and One Direction. The title of the album is inspired by the poem “On Children” by Kahlil Gibran, and thematically, Hawkes focuses on parenthood, mental health and loss. Despite these promising starting points, “Living Arrows” remains only a very mediocre pop album that offers little depth. For fans of the former teen idol, this album might still be worth the effort, but for most listeners, it offers little new or surprising. The production is tight and professional, but the songs lack the memorable quality needed to lift Hawkes out of the shadow of his big hit. When he performs again, venues will undoubtedly fill up with nostalgic fans patiently waiting until he finally plays “I Am the One and Only.” It seems that, despite his attempts to grow artistically with each new album, Hawkes cannot escape the fate of a one-hit wonder. (Jan Vranken) (5/10) (HGLA Ltd)
