Album review overview: Liv Kristine, Vox Sambour and more

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

Liv Kristine – Amor Vincit Omnia

The Norwegian soprano Liv Kristine has been releasing solo work since 1998, but between 1994 and 2015, her focus was mainly on the symphonic metal bands Theatre of Tragedy and Leaves’ Eyes, which brought her recognition. She has also collaborated with various other bands, including Delain, both on record and live. “Amor Vincit Omnia” is her seventh album, and perhaps showcases her finest vocal performance ever recorded. The only track that harks back to the symphonic metal she became famous for in the 90s with Theatre of Tragedy is the title track, which features growls by her husband, Michael Espenæs. Although guitarist Sacha Dannenberger is responsible for the music, guitars are scarce on the other ten tracks. The focus is clearly on Liv Kristine’s voice and lyrics, giving her room to shine without overshadowing the instrumentation. This balance is also thanks to Sacha Dannenberger and Andy Classen, who mastered the album. For the average symphonic metal fan, “Amor Vincit Omnia” might be too soft, but for the more adventurous music lover, this album is an absolute must. (Ad Keepers) (9/10) (Metalville)

Marathon – Fading Image

Marathon’s debut album “Fading Image” makes a powerful first impression. The Dutch post-punk band, consisting of Kay Koopmans, Lennart van Hulst, and Nina Lijzenga, blends post-punk, shoegaze, and indie influences into a distinctive and urgent sound. “Out Of Depth” intensifies the album, driven by Lennart’s tight drumming and Nina’s signature six-string bass. Kay’s vocals suit the raw atmosphere well. Singles like “Gold” and “Fall” are more accessible but retain the dark undercurrent that defines the album. “Shadow Raised A Star” stands out with its layered and atmospheric build-up. In “DH22”, the band showcases its experimental side, while “Idiocy” and “Disorder” embody themes of impermanence and confusion. The raw production enhances the sense of urgency. On closer “Away From Home”, added keys and guitars bring surprising depth. With “Fading Image”, Marathon delivers a convincing and solid debut—no frills, just intensity and a clear, unique sound. We want more! (Anton Dupont) (8/10) (V2 Records)

Vox Sambou – Hayti Lives

A refreshing musical journey on Vox Sambou’s new album “Hayti Lives”. The opening track “Voyaje” features a beautiful trumpet solo by Rémi Cormier, immediately setting the tone for this cultural fusion. With just eight tracks and a runtime of around half an hour, this album leaves you wanting more. The Montreal-based Haitian artist presents a collection full of Haitian rhythms interwoven with Congolese influences. “Kriminèl” calls for unity, while “Voyaje” offers a joyful celebration of cultural connection. “Na Luta” surprises with its experimental, at times chaotic sounds, which may seem out of place but are all the more intriguing because of it. Lead single “Goumen” is a strong anthem of perseverance, deeply rooted in Haitian culture. Though Sambou’s rapping may not be his strongest suit, his conviction and passion more than make up for it. He delivers a coherent and captivating work with contributions from many talented musicians. “Hayti Lives” is a charming record that not only pays tribute to Haitian heritage but also makes for a perfect summer barbecue soundtrack. (Jan Vranken) (6/10) (Delicious Times)

Donovan Haffner – Alleviate

Fresh out of the Royal Academy of Music in London, alto saxophonist Donovan Haffner independently releases his debut, composed entirely of original works. It would be a bold move if Haffner weren’t already a seasoned jazz musician, and the young Brit indeed has an impressive track record—something that comes through clearly in the tracks on “Alleviate”. “The Writer” immediately offers a solid impression of what’s to come: above all, technically flawless interplay between alto sax, piano, and guitar. Technically flawless, yes—but at times it feels like the listener is meant to be impressed more by his skill than the music’s emotional resonance. Many young musicians fall into that trap, and Haffner is no exception. A track like “Step Aside” soon feels like a study piece: masterfully played but lacking in impact. Part of that technical excellence is his display of stylistic versatility. While most tracks lean bluesy, he doesn’t shy away from bop, such as on “The Sublime”, which starts brilliantly with just sax and drums. Here, in addition to technique, there’s a welcome spark in the performance—essential for breathing life into a composition. It’s one of the more surprising and certainly one of the stronger tracks, alongside “The Lone Wolf” and “Discovering The Truth”, the latter standing out for its simplicity, which makes it all the more impressive. Here, Haffner doesn’t rely on technical fireworks, but instead creates genuine depth. It’s the difference between playing from the gut, or from the fingers. We prefer the former. (Jeroen Mulder) (7/10) (Donovan Haffner)

Divide and Dissolve – Insatiable

Australian composer and multi-instrumentalist Takiaya Reed is a Cherokee woman. She channels Indigenous sovereignty, emancipation, and lived experience into the (mostly instrumental) music of Divide and Dissolve. “Insatiable” represents Takiaya’s vision of a better world. The drumming is pounding, the guitar sludgy. But it’s especially through her saxophone playing and use of effects that she creates a unique sound within the global doom-metal scene. The combination of horn and saxophone gives “Loneliness” a sombre, almost mournful tone. The contrast with the doom of “Dichotomy” is stark. Takiaya’s words in “Grief” are nearly inaudible, yet her voice blends seamlessly with the instrumentation. The tracks are well-paced across an album that includes both classically inspired passages and slow doom metal. The gritty sound and sludgy guitar don’t dominate. The distorted vocals and drumming serve the whole. You don’t need to understand what the songs are about—you feel the shifts in mood. Even if you usually avoid doom metal, you should give “Insatiable” a listen. (Esther Kessel-Tamerus) (8/10) (Bella Union)