Album review overview: Loathe, Kasabian 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

Embrace Of Souls – Battle of the Dead

“Battle of the Dead” is the new concept album by the Italian symphonic power metal band. The opening is almost cinematic and highly promising. Although the vocals and music are good, the cinematic allure soon begins to fade. The English vocals, performed by a classically trained singer, are not always entirely intelligible. The historical aspects come across much better in the attractive lyric booklet than in the vocals and the music. The tempo is exhilarating at times, which means that the sung words do not always make their full impact. In addition, the contrasts between high and low, loud and restrained are too limited, making the tracks less impressive. The vocal limits are pushed in “Who Can Save Us”. In “Betrayal”, genuine emotion can be heard in the ‘scream’. The balance between metal and symphonic elements is excellent. There are also enjoyable details, particularly in the keyboard work. The bass and guitar playing are consistently strong and satisfying. Especially in the faster sections, the drums could have sounded fuller. The cold production occasionally becomes somewhat overpowering. Some passages and musical turns are fairly predictable, but these are alternated with truly impressive moments. So despite my criticisms, this album comfortably earns a good rating. (Esther Kessel-Tamerus) (7/10) (Rockshots Records)

Motionless in White – Decades

With “Decades”, Motionless in White delivers a tightly produced metalcore album that balances melody and aggression. The band sounds controlled and technically accomplished, with great attention paid to detail in the arrangements. Tracks such as “The Ringing Bell” and “End Whispers” combine heavy riffs with choruses clearly written for large arenas. At times, however, the album lacks spontaneity, making the whole feel slightly calculated. Drew Fulk’s production keeps everything firmly under control but leaves little room for rawness. The result is solid, although not the band’s most adventurous work. (Anton Dupont) (7/10) (Roadrunner Records)

Bart Flos – Clarity Of Vision

Bart Flos is a pianist who has earned an outstanding reputation in the world of jazz. During his classical piano training, he first developed an interest in boogie-woogie and Dixieland. Over time, this evolved through bebop and various other styles into a broad spectrum of jazz genres. He showcases these styles through the different stages of his “Next Step” projects. As part of Next Step Stage 7, the triple album “Clarity Of Vision” was recently released. Across the three CDs are a total of 24 tracks, consisting partly of covers and partly of original compositions. Whereas his previous triple album “Roots & Reflections (Stage 6)” was still partly recorded with his jazz trio, this time Bart performs entirely on his own. The album is divided into three sections entitled “Sense Of Purpose”, “Sense Of Direction”, and “Sense Of Urgency”. His ambition was to record this album on the concert grand piano of his dreams, the Fazioli F308, which, at three metres in length, is the largest concert grand piano in the world. Bart Flos takes the listener on a journey through the world of jazz with well-known jazz classics such as “Bésame Mucho”, “Someday My Prince Will Come”, “My Funny Valentine”, and “A Night In Tunisia”, each receiving its own distinctive interpretation. This is especially true of “Autumn Leaves”, of which three different versions are included. Each CD closes with one of these versions. His original compositions are equally enjoyable, including “Do You Remember” and the bluesy “New Blues News”. Special mention should also go to Thelonious Monk’s “Straight, No Chaser”, Duke Ellington’s “Caravan”, and Charlie Parker’s blues classic “Billie’s Bounce”. Lovers of piano jazz and jazz in general should certainly give this album a listen. From beginning to end, it is a varied journey through the world of jazz. Beautifully performed. Highly recommended. (Eric Campfens) (8/10) (Bart Flos Music)

Loathe – A Stranger To You

With “A Stranger To You”, Loathe once again takes another step in its hybrid approach to metal and post-rock. The album shifts between crushing outbursts and atmospheric passages that feel almost cinematic. The tension between silence and chaos is its greatest strength. The longer compositions in particular build their layers carefully without losing their intensity. At times, the album leans towards overambition, but the band maintains enough control to compensate. It is a record that rewards repeated listening before its full impact is revealed. (William Brown) (8/10) (SharpTone Records)

Kasabian – Act III

With “Act III”, Kasabian continues its trademark blend of stadium rock infused with electronic influences. The singles “Hippie Sunshine” and “Great Pretender” set the tone early on: expansive, rhythmic, and clearly designed for live audiences. The album thrives on its energy but occasionally lacks dynamic variety in its compositions. The production is clear and direct, allowing the songs to make an immediate impact, although they prove less memorable over time. Even so, there are moments when the band rediscovers its former sharpness, particularly during the more psychedelic passages. It is an album that succeeds through momentum rather than depth. (Daniel Harris) (6/10) (Sony)