Album review overview: Chrissie Hynde, Of Monsters and Men 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 we post an overview of albums that arrive at the editors in short reviews today.

Photo (c) Jorge Fakhouri Filho

Affinity Trio – New Outlook

Eric Jacobson, Pamela York and Clay Schaub, as Affinity Trio, are no ordinary jazz trio. Respectively, the trio consists of a trumpeter, a pianist, and a bassist. It produces a remarkably transparent soundscape where every note, and even every silence, matters. “New Outlook” feels incredibly intimate, as if you are standing right in the middle of the trio. The opener “Open Windows” could not have been more fitting: it invites you to literally open yourself and let the melodies swirl freely around us, guided especially by Jacobson’s lyrical trumpet playing. Alongside their own compositions, the trio also performs six classics, including “Tin Tin Deo”, originally by Dizzy Gillespie, Gil Fuller, and Chano Pozo. It must be said: the rendition on “New Outlook” is among the better ones, and despite the absence of drums, the composition still carries that famous Cuban jazz swing, aided by York’s fresh piano playing. But the absolute highlight is the performance of Fred Lacey’s “Theme for Ernie”. The atmosphere, subtlety, and above all, musicality approach the interpretation of John Coltrane. Approaches. But that alone is a considerable achievement. (Jeroen Mulder) (8/10) (Origin Records)

Bar Italia – Some Like It Hot

London trio Bar Italia makes a bold leap forward with their fifth album in five years. Named after the 1959 film classic, “Some Like It Hot” combines post-punk, Britpop, shoegaze, and psychedelia with its own melodramatic flair. Opener “Fundraiser” bursts with stacked hooks and accelerating energy, marking their most polished work yet. The three vocalists, Nina Cristante, Jezmi Tarik Fehmi, and Sam Fenton, alternate deadpan vocals ranging from dreamy to possessed. Tracks like “Rooste” transform casual garage punk into psychedelic dreamscapes, while “I Make My Own Dust” weaves trip-hop undertones with grungy guitars. The album also allows space for quiet and softness, with “Plastered” and “The Lady Vanishes” offering moments of rest. Production is sharper than ever, which some fans of their earlier lo-fi charm might miss. The title track closes the album with a slowly unfolding, haunting silence that lingers. Bar Italia has transcended its underground roots and embraces a broad, panoramic sound, with its synergy as a trio fully blossoming. (Anton Dupont) (8/10) (Matador Records)

Militarie Gun – God Save the Gun

Frontman Ian Shelton transforms personal trauma into electrifying rock on Militarie Gun’s second album. “God Save the Gun” is a raw confession about addiction and self-destruction, recorded while the band was at the peak of their success. Opener “Pt. II” starts with the words “I’ve been slipping up” and sets the tone for an album that blends vulnerability with massive hooks. Tracks like “B A D I D E A” and “Throw Me Away” are infectious rock numbers echoing Shelton’s love for early rock music. The ballad “I Won’t Murder Your Friend” is the emotional apex, with Shelton reflecting on suicidal thoughts from the perspective of their impact on others. The album features guest appearances from his younger brother, Vatican Vos, with rap interludes adding personal stories. Production is maximalist with roaring bass, saccharine guitars, and pounding percussion working perfectly together without competing for space. Shelton’s voice cuts effortlessly through the sound with both roar and melodic singing. Though some slower tracks like “Daydream” with delicate strings offer little shelter, the album remains entertaining and emotionally resonant. (Anton Dupont) (8/10) (Loma Vista Recordings)

Of Monsters and Men – All Is Love and Pain in the Mouse Parade

The Icelandic ensemble returns after six years with their most introspective work yet. “All Is Love and Pain in the Mouse Parade” explores the paradox of joy and sorrow, love and pain, across thirteen ethereal compositions. Opener “Television Love” welcomes listeners with dreamy, smooth sounds and the signature alternating vocals of Ragnar Þórhallsson and Nanna Bryndís Hilmarsdóttir. The album strikes a balance between folk roots and polished indie pop, incorporating subtle electronic textures that enhance the sound without compromising its authenticity. “Dream Team” adds bright textures reminiscent of a rising sun, while “The Actor” approaches gently like a soft feather. Track nine, “Ordinary Creature,” increases the tempo, suggesting transformation, and the title track, “Mouse Parade,” delivers the most haunting moment with chilling silence. Production, handled by the band in their Icelandic studio, brings a warm ambience. Whereas previous albums reached for mythical themes, this album finds power in the domestic and familiar. Vocal harmonies are lush, arrangements carefully built, resulting in a calm, contemplative experience. The album feels cohesive and heartfelt, although the predominantly slow tempos can feel dragging at times. (William Brown) (7/10) (Skarkali Records)

Chrissie Hynde & Pals – Duets Special

The Pretenders frontwoman presents an intimate collection of thirteen duets with musical friends on her fourth solo album. “Duets Special” features sparse arrangements that place Hynde’s warm, velvety voice front and centre. The project arose spontaneously from a conversation with Rufus Wainwright, resulting in the moving “Always On My Mind”, which stands out as a highlight of the album. Other collaborations range from retro pop with Shirley Manson on “Love Letters” to R&B with k.d. lang on a gender-bending version of “Me & Mrs Jones”. Dave Gahan of Depeche Mode appears on the psychedelic folk of “Dolphins”, while Brandon Flowers of The Killers proves the perfect match for 10cc’s atmospheric “I’m Not In Love”. The late Mark Lanegan is featured on Elvis Presley’s “Can’t Help Falling In Love”, a touching tribute. Julian Lennon joins Hynde on the Beatles track “It’s Only Love”, a song his father disliked. Perhaps the pinnacle is the collaboration with Alan Sparhawk of Low on Cass McCombs’ “County Line”, a sublime, sleepwalking piece. The album primarily features slow tempos, which can sometimes cause sluggishness, but it is a joy to hear one of the great rock voices of her generation share what she loves. (Norman van den Wildenberg) (7/10) (Parlophone)