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
Phil Vincent – Passive Aggressive
American multi-instrumentalist Phil Vincent is a busy man. “Passive Aggressive” is his second solo album of the year and his third album release if we also count “Propaganda Elite” by Tragik, in which he also plays. On this album, he receives help from drummer Max Piccolo and guitarist Vince O’Regan, who also plays in Tragik. Guitarist Shaun McGovern plays the guitar solo on the track “Memory Of Yesterday”. This is quite surprising, as McGovern is not a well-known name in the hard rock scene but is more involved in indie rock and alternative pop rock, where he is a familiar name. “Passive Aggressive” features 11 fine melodic hard rock tracks that are well constructed and performed solidly. The guitar work in particular is absolutely delicious. “After The Thrill Is Gone” is a cover of the Eagles. If you buy the CD, you also get two extra tracks. “All By Myself” by Eric Carmen and “Turn Up The Music” by Sammy Hagar. All the more reason to buy the physical CD edition. (Ad Keepers) (7/10) (Rock Company Records)
No Saint & Rik Meijer – Off The Record
The two men met last year through a bluegrass band. That band failed to get off the ground, but Sipke Visser (a.k.a. No Saint) and Rik Meijer did discover that they shared an interest in authentic music. This was mainly in the areas of blues, rock, folk and country, something that has come to be known collectively as Americana and/or roots music. Meijer has a background in heavier blues and blues rock and has played with, among others, Shakey Sam, Erwin Java, Herman Brood, Jan Akkerman and Harry Muskee. No Saint comes more from the country and Americana side of things. The two men have written some songs together and went into the studio with a few musical friends. They were supported by Bas Kleine (harmonica), Ruben Mulder (keyboards) and backing vocalists Carin Seegerd-Efdé, Ella-May Efdé and Wilfred van Vught. One of the tracks, “Hard To Say Goodbye”, is a duet with Natasha van Hijum, who also co-wrote the song. The independently released CD “Off The Record” contains ten tracks, all of which fall within the broad field known as Americana. This direction is immediately apparent in the opening track “Fix Me A Pen”, which was already released a few weeks ago as a single and taster. No Saint’s beautiful acoustic guitar blends with Meijer’s fiery slide guitar. It marks the beginning of a musical journey through blues, country, folk and gospel. For me, the highlights are the gospel-like “The Fire Inside”, “Feel Like Me”, accompanied by some very beautiful fingerpicking, and the rocking “Gonna Make That Woman My Wife”. A very fine CD on which No Saint and Rik Meijer prove that writing and playing authentic music remains the most beautiful and purest approach. First-class work. (Eric Campfens) (8/10) (Self-produced)
Rachel Chinouriri – I Think I Spoke Too Soon
On “I Think I Spoke Too Soon”, Rachel Chinouriri talks about a night out in which she puts all versions of herself on the dance floor at once. The idea is clever and the sound is glossy, but the question is how much depth lies beneath the glitter. The opening track “One Song Away From Crying” shows what it is all about: party noise with a knot in the stomach. Her debut “What A Devastating Turn Of Events” set the bar high with pure verbal artistry, making it clear that some of the songs here mainly provide atmosphere. Nevertheless, the British singer often manages to maintain the tension between outward appearances and growing doubt. The synthpop and indie rock sound pleasant, sometimes a little too polished, causing the rough edges to disappear. One or two melodies could have offered more to hold on to. All in all, this is a mature second album that partly fulfils the promise of her debut. It is an album that only truly convinces when the glitter briefly fades and the hangover becomes audible. What remains is an album that is engaging, but one that sometimes makes you wish she had been less cautious. William Brown (8/10) (Atlas Artists / Parlophone Records)
Wolves in the Throne Room – Estuary
The American band Wolves in the Throne Room impresses on “Estuary” with an impressive display of atmospheric and dark black metal. The band masterfully creates an oppressive atmosphere that draws the listener in from the very first moment. On the impressive single “Estuary”, icy walls of guitars blend seamlessly with hypnotic ambient interludes and incantatory vocals. The majestic “Black Mountain” convincingly continues along the same lines with extended, captivating arcs of tension that never feel forced. The production sounds remarkably clear, allowing all the subtle layers of the instrumentation to come through exceptionally well. The underlying darkness remains palpable throughout the entire running time, giving the album a rare sense of coherence. It is admirable how the collective maintains the balance between raw aggression and thoughtful musicianship. “Estuary” has thus become an extremely mature work that leaves a deep impression. (Tobias Braun) (8/10) (Century Media Records)
Rick Wakeman – Return To The Red Planet
I put aside the impression I had of “The Red Planet”. With an open mind, I listen to the largely instrumental “Return To The Red Planet”. Mollie Marriott’s rather soft voice suits the music of “The Jezero Crater”. Avoiding the use of “standard” science fiction sounds is an excellent choice. However, the tracks do not give you the feeling of being in an unusual environment. The vocals and music are not particularly dynamic, and the sound is less full and lively than expected. As a result, my attention keeps wandering. The quietly performed section in “St Paul’s Bay” does catch my attention. Although this sixth track is not a standout either, it contains interesting passages and beautiful details. In “Martian Dust Devils”, the soft sound of a dust devil is symbolised through music. Parts of the vocals and music have the atmosphere of variety entertainment from decades ago. During the final track, I am moved for the first time. As expected, the album contains plenty of high notes from the keyboards. In several tracks, the “choral vocals” are beautifully employed as an instrument. Nevertheless, I am not particularly enthusiastic. (Esther Kessel-Tamerus) (6/10) (Madfish Music)
Daniel Harris