Album review overview: Holly Humberstone, B.B. King 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

The Chin Chins – Hellcat

The Chin Chins come up with “Hellcat”, and it is a wonderfully chaotic party. The debut from the band fronted by Sara Rose Wright, with Green Day’s Tré Cool behind the drums, was self-released and features eight tracks. The trio dives into rockabilly, blues and old-school rock, with a generous dose of punk thrown in. The title track “Hellcat” was recorded last and feels like an explosion of energy. “Bye Bye Blues” and “Out of Time” keep the pace high, while “Dancing with the Dark” and “Crazy When She Drinks” explore darker territory without becoming heavy. With “Wheels”, “Guts & Grit” and “Snakebite”, the band rolls towards the finish line. Everything sounds cheerful, danceable and full of commitment, as if you were standing in the middle of a sweaty venue. It is seriously made, but fortunately does not take itself too seriously. Yes, the formula is nothing new, but anyone who loves high tempo and a tongue-in-cheek attitude will find exactly what they are looking for here. A debut that immediately makes you want to see them live. A genuinely great time, and certainly worth turning up loud. (Daniel Harris) (7/10) (Self-released)

Blackhaine – Saints in the Wethouse

With “Saints in the Wethouse”, Tom Heyes, who operates as Blackhaine, delivers his first full-length album on XL Recordings. Executive producer Wraith9 oversees a sound that combines UK drill with extreme electronics. The advance singles “Northside Needs Me” and “Consumer” feature a panicked, breathless delivery in which trauma, addiction and anger take centre stage. “5 Days” completely abandons rhythm and sets the voice against a mass of feedback, while “Pyrex” comes closer to a conventional rap record. “The Wind” also stands out as an acoustic ballad whose surroundings give it an unsettling character. Reactions vary. While some critics praise the intensity as overwhelming, others point out that many tracks have little individual identity and that the production sometimes remains faceless. Both observations are justifiable, because the record has an impressive atmosphere but at times lacks a recognisable rhythmic anchor. Those familiar with Blackhaine’s earlier EPs will hear a greater scale but less character here. That makes the record intriguing, but also uneven. As a debut, it is a demanding listening journey that is certainly not intended for everyone. (Norman van den Wildenberg) (6/10) (XL Recordings)

Anberlin – Currency

Anberlin draws a new line with “Currency”, and it feels like a knock on the door. For the first time, Matty Mullins, known from Memphis May Fire, takes the microphone on all eleven tracks. Producer Kellen McGregor and the band keep the guitars sharp, and “Neverafter” and “Gravity” get the album off to an energetic start. On “Highstakes”, Mullins’ raw voice rubs against a light production, and in “Medicate” he even unleashes a brief scream. With “Trenches”, featuring Switchfoot, the band seeks hope in dark themes, while closing track “Ashes” evokes genuine emotion. Anyone who cherishes “Never Take Friendship Personal” will hear plenty of related riffs here. Nevertheless, not everything sounds equally daring, as some songs remain safely within the lines and lack the layered quality of earlier days. The feeling that something is missing lingers here and there. The transition to a new singer remains a gamble, and not everyone will be convinced. But the record has weight, hooks and enough bravado to demand a second listen. This is not a repeat of the past, but a band simply continuing to push forward. (Anton Dupont) (8/10) (Equal Vision Records)

Holly Humberstone – Cruel World… So It Ends

Holly Humberstone raises the bar considerably with “Cruel World… So It Ends”. This expanded edition adds five new tracks to her second album “Cruel World”, including the single “Too Cute to Be Lonely”. The original revolves around leaving her childhood home and the feeling that childhood is definitively behind you, and it genuinely strikes a chord. Singles such as “Die Happy”, “To Love Somebody” and “Beauty Pageant” sound grand and dreamy, as if they could come straight out of a John Hughes film. “Red Chevy” immediately sticks in your mind, while “Peachy”, as a piano ballad, exposes a painful sense of uncertainty. Producer Rob Milton gives the whole thing a glossy sound with synths and electronic tricks, without drowning out the vocals. Reviewers are full of praise for the songwriting, although one or two feel that she is not reinventing the wheel. That is true, because the formula remains recognisable. Nevertheless, the record is packed with strong choruses that you can sing along to in the car, with enough heart to make them linger. Anyone who already knows the original version has a good reason to return thanks to the additional tracks. A genuine album to turn up loud. (Daniel Harris) (8/10) (Polydor)

B.B. King – The Montreux Years

The Montreux Jazz Festival is an annual event on the shores of Lake Geneva, in Montreux, Switzerland. Over the years, the festival has welcomed countless big names and is renowned for its excellent acoustics. Video recordings of many legendary performances have also acquired a special status and have been included in the UNESCO World Heritage. Names such as Bill Evans, Miles Davis and Nina Simone represent just a few of the jazz legends who have performed on its stage. But major names from the world of pop and rock have also appeared, including Deep Purple, Tori Amos and, more recently, London Grammar. In recent years, special performances from the festival’s history have been reissued under the banner of The Montreux Years. This time, the focus is on blues legend B.B. King, who died in 2015 at the age of 89. King performed at the festival several times. These exclusive live recordings have been restored and brought together on B.B. King – The Montreux Years. The album features nine performances that the blues great gave in Montreux between 1982 and 2000. A wonderful selection from his rich body of work and an essential document for the devoted blues enthusiast, but certainly also for music lovers beyond that audience. Turn the volume up and let Lucille take over the room. (Bart van de Sande) (8/10) (BMG)