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 we post an overview of albums that arrive at the editors in short reviews today.
Photo (c) Jorge Fakhouri Filho
Nick Fletcher – An Unfolding Of Miracles
Nick Fletcher is a versatile guitarist. He plays, among other genres, (prog) rock, jazz and fusion. He also plays guitar synthesiser, expanding his palette of tonal colours. After a calm opening comes ‘To be seen, to be heard’, in which the music sometimes seems to work against itself. There is plenty to listen to without things becoming too complex. The variety can be heard throughout all nine instrumental tracks. Even when the playing becomes very fast, the dynamics are preserved. The loops sometimes result in (slightly too many) repetitions in the melody and/or rhythm. The bass is regularly prominent and alternates with or blends into the high notes from the keyboards. The drumming is beautiful, and the cymbal work is highly detailed. The wordless vocals subtly merge with the music. In several tracks, you can feel the emotion with which Nick plays. In ‘The Path of fire’, his guitar playing could have been brought a little further to the fore. Really, you need to listen to ‘An Unfolding Of Miracles’ yourself. After all, it is almost impossible to describe such a varied album in fewer than 200 words. (Esther Kessel-Tamerus) (8/10) (Self-produced)
Ella Thompson – Triumphs and Sadness
Sixties soul, early seventies soul. That is what Australian singer Emma Thompson’s music on “Triumphs and Sadness” brings to mind. And that is hardly surprising. Thompson grew up listening to Nina Simone and Billie Holiday. The risk is that a singer then tries to become a copy, wanting to sing with the same timbre and timing. The problem, however, is that Thompson’s voice is actually too thin for that, lacking the depth of experience. In fact, her voice does not quite fit the otherwise delightful sound of a band that sounds like the Dap-Kings. The fact that everything was recorded on analogue tape and mixed by Wayne Gordon (Daptone, Womack Sisters) helps enormously. Naturally, there are highlights, such as the more restrained “Change of Heart”, although the brass section steals the show here too. The songs themselves aren’t the problem; most were written by Thompson herself and feature beautiful lyrics. Excellent soul songs, every one of them. Have a listen to “My Weakness” or the energetic “Dandelion”: fine compositions with challenging vocal lines to boot. Unintentionally, it has become an album that makes us realise just how much we miss Amy and Sharon Jones. That makes “Triumphs and Sadness” certainly not a bad album, but it lacks that raw edge that makes soul truly soul. (Jeroen Mulder) (6/10) (Mr. Bongo)
Andy Grammer – Big Stupid Heart
American entertainer Andy Grammer celebrates life and emotion on “Big Stupid Heart” with an overdose of sparkling, fearless pop music. The singer pulls out all the stops and serves up infectious melodies that immediately stick in your head. On songs such as “Love Showed Up” and “I Do”, he demonstrates that he is a master at crafting big, immersive singalong choruses with an unmistakably positive outlook. Everything about this production radiates energy and dynamism, with modern beats blending seamlessly with captivating arrangements. Very occasionally, the constant stream of heightened emotions threatens to push the album into overload, but Grammer’s sheer passion and conviction effortlessly keep things on track. This album captures the listener from the very first note and refuses to let go. “Big Stupid Heart” is the ultimate soundtrack for anyone looking to enjoy unapologetically grand, immersive radio anthems once again, guaranteed to leave you with a huge smile on your face. (Daniel Harris) (8/10) (S-Curve Records)
Florrie – Magic For A While
For those who have followed Florrie’s impressive career for years, her new studio album feels like a cheerful triumph over the music industry. On “Magic For A While”, the British drummer and singer knows exactly where her strengths lie, namely in sparkling, rhythm-driven electropop. Tracks such as “Magic For A While” and “Personal” are packed with shimmering synth lines and tight drums that unmistakably bear the mark of her long-standing collaboration with pop production outfit Xenomania. Nevertheless, the album cannot escape the fact that many of its songs follow the same familiar formula. Those hoping for major surprises or innovative arrangements will find little to their liking here. Everything sounds extremely polished and expertly produced, but at times it lacks just that little bit of raw emotion and tension needed to leave a truly lasting impression. “Magic For A While” is an extremely enjoyable and polished pop album, although Florrie occasionally plays it a little too safe within familiar boundaries. (William Brown) (7/10) (BMG)
Robin Trower – Shine
The 81-year-old guitarist Robin Trower has built up an impressive career by now. From 1967 through to 1971, he was part of Procol Harum during the band’s successful years. He subsequently built up his own body of work with the Robin Trower Band. “Shine” is already his 29th studio album. There is little that is new under the sun: Trower plays guitar as naturally as we humans breathe. He makes use of that same breathing space on “Shine”. With measured subtlety, he carefully controls his tones within the compositions. Most of the songs feature vocals by Richard Watts, including “Faith” and “Without You”. Jess Haye can be heard on “Truth”. Although the album never becomes particularly exciting and the playing sometimes feels a little routine, the whole remains entertaining. Anyone expecting the now 81-year-old Trower to push his guitar to the limit will be somewhat disappointed by “Shine”. One minor criticism is that the compositions are so clearly in service of his guitar playing that they sound somewhat anonymous here and there. Nevertheless, “Shine” has above all turned out to be a relaxed record, well suited to sitting back, listening and enjoying it. (Bart van de Sande) (7/10) (Provogue Records)
Daniel Harris