Album review overview: Ryan Adams, Cast 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

Jordan Ward – Backward

The St. Louis-born artist Jordan Ward delivers a refreshing sound to contemporary R&B and hip-hop with “Backward”. The album follows the success of his previous releases and showcases a clear artistic evolution. With singles like ‘Mustard’ and ‘White Dress’, Ward creates a relaxed atmosphere that feels both modern and timeless. The lyrics on “Backward” are personal, reflecting on his journey in the music industry and his own personal growth. Musically, the album leans on smooth beats and dreamy synthesisers that support his soft vocals. The harmonies are layered, offering a rich listening experience with details that emerge over repeated plays. Ward effortlessly blends different genres, keeping the album far from monotonous. The flow of the tracks on “Backward” provides a consistent listening experience that invites repeat plays. It is an album that exudes calm while challenging the listener through its lyrics and immersive world. (Elodie Renard) (8/10) (Interscope Records)

Ryan Adams – Self Portrait

Ryan Adams’ 31st studio album is a lo-fi collection of 24 tracks that mixes covers of R.E.M. and New Order with new originals. Self Portrait feels like a sketchbook, raw and unfiltered, recorded in Adams’ bedroom. After years of controversy and a comeback with Blackhole in 2024, he opts for intimacy over bombast. Virginia in the Rain opens with acoustic fragility, Please Shut the Fuck Up carries punk energy, while Blue Monday interprets New Order’s classic through Adams’ lens. The cover of R.E.M.’s The One I Love shows respect but also Adams’ inability to stop being himself. Honky Tonk Girl and Saturday Night Forever bring country twang, while I Am Dracula and I Am a Rollercoaster are more experimental. The problem is that 24 tracks over 72 minutes create too much noise. Some songs feel half-finished, with deliberately primitive production. A disappointment for Heartbreaker fans, a curious footnote for Adams purists. It is an album for those interested in his creative process, not the classics. (Anton Dupont) (6/10) (Pax Am)

Negative Press Project – Cycles I

Rosalía’s ‘Berghain’ defined a new style in pop music last year by merging an explosive classical piece with choral work, pop, and hip-hop. Negative Press Project won’t cause such a shockwave, but with “Cycles I”, this American ensemble, accompanied by the Friction Quartet, makes a statement by bringing together jazz, chamber music, and soundscapes. Negative Press Project was formed in Oakland, California, from a group of musicians around pianist/composer Ruthie Dineen and bassist/composer Andrew Lion. Especially the latter shines on this album, which cannot simply be called jazz—it is much more. In twelve compositions, the ensemble tells a story, continuously shifting perspectives and musically flitting between styles. The opening with strings in ‘Shoten Zenjin (Morning Arrives for Aya)’ is stunning. The album has virtually no weak moments. The dynamic between jazz and even bop with orchestral arrangements produces a delightful, cinematic soundscape, giving individual members of Negative Press Project room to excel. A fine example is the bass and guitar solos on ‘Cycles Brilliant’. And the best is yet to come: ‘Hold and Keep this Flower’, starting with a string prelude, and ‘Miles To Go’, where orchestra and jazz musicians seamlessly merge in a sublime arrangement. The last time we heard such craftsmanship was in Burt Bacharach’s best days, who elevated this style of arranging to an art. A high compliment indeed. (Jeroen Mulder) (9/10) (Envelopmental Music)

Emily Scott Robinson – Appalachia

Emily Scott Robinson, songwriter for John Prine’s Oh Boy Records, presents her best work yet on her third album. “Appalachia”, recorded in the 130-year-old Dreamland Recording Studios in the forests of Kingston, New York, is an intimate portrait of resilience, loss, and community rooted in the Blue Ridge Mountains of North Carolina. Producer Josh Kaufman (Bonnie Light Horseman) encouraged Robinson to experiment, resulting in the opening track ‘Hymn for the Unholy’, where she sets aside her guitar and sings a cappella over a bare organ. It is a hymn for anyone who has ever failed, sung with a crystal-clear voice that immediately touches the heart. Robinson excels at telling human stories with seemingly simple yet vivid imagery. On ‘Time Traveler’, she depicts the painful process of her grandmother’s dementia with precise details that draw the listener into the slow erosion of memory. ‘Cast Iron Heart’, a duet with Grammy-winner John Paul White, celebrates the type of love that comes with scars and age, with the line ‘People think we’re past our prime, but I say we got here just in time’ resonating as a tribute to second chances. The title track serves as both an ode to the Appalachians and a statement of resilience after the destruction caused by Hurricane Helene in 2024 in western North Carolina. ‘Dirtbag Saloon’ is a sharp commentary on gentrification and economic inequality, wrapped in a light country waltz. Robinson transforms everyday scenes, unpaid bills, and shoulders to cry on into poetry reminiscent of her mentor John Prine. “Appalachia” proves why Robinson has two 9+ rated albums to her name and confirms that American roots music is in capable hands. (Jan Vranken) (9/10) (Oh Boy Records)

Cast – Yeah Yeah Yeah

British Britpop veterans Cast return with the album “Yeah Yeah Yeah”, delivering the energy fans of the genre expect. John Power and his band prove their melodic sense is as alive as ever. Singles like ‘Love Is The Call’ and the title track ‘Yeah Yeah Yeah’ immediately set the tone with jangling guitars and singalong choruses. While the band doesn’t invent a new sound, the production feels fresh and urgent. The lyrics on “Yeah Yeah Yeah” are optimistic and radiate a renewed sense of playfulness that is contagious. Compared to their 1990s work, the band now sounds more mature and balanced. The structure of the tracks follows classic guitar-pop principles, with each verse flowing organically into a grand chorus. The album is solid throughout, without weak moments. For devoted fans, this is a welcome addition to the discography of a band far from burnt out. (William Brown) (7/10) (Cast Recordings)