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 today we post an overview of albums that arrive at the editors in short reviews.
Photo (c) Jorge Fakhouri Filho
Prince Views – Sunrise
Prince Views’ “Sunrise” is a surprising and intimate encounter between poetry and music. The South African poet of Johannesburg blends his powerful, personal words with subtle, minimalist soundscapes, creating a unique and intimate atmosphere. The album is a journey through Views’ emotions, ranging from vulnerability to anger, and hope to sorrow. The minimalist musical accompaniment serves as a subtle canvas for his poetry, focusing entirely on the strength of his words. Tracks like “Butterflies and Goosebumps” and “Coffee Went Cold” beautifully demonstrate how poetry and music can amplify each other. Especially the latter track hits hard, reminiscent at times of Eminem’s “Stan.” It serves as a farewell to a departed friend—a deeply moving piece. The music adds an extra layer to the emotions embedded in the words, making the listener feel even more deeply. While the spoken word elements take centre stage, the musical arrangements enhance the album’s emotional impact. The combination of Views’ pleasant voice and the subtle instrumentation creates an intimate atmosphere that invites the listener to lose themselves in the poet’s world. “Sunrise” is a promising debut from a young artist unafraid to be vulnerable. (Norman van den Wildenberg) (7/10) (Prince Views)
The Pineapple Thief – Last To Run
Hot on the heels of their February release, “It Leads To This,” The Pineapple Thief returns with the excellent mini-album “Last To Run.” Featuring five tracks that didn’t make it onto “It Leads To This,” these songs have evolved into fully realized compositions showcased here. These are no leftovers or fillers. What’s impressive is how The Pineapple Thief makes everything sound so effortless, especially in relatively short tracks by prog standards. Only the title track, “Last To Run,” stretches to nearly seven minutes, while the other four hover around four minutes, with a hint of “radio-friendly” accessibility. The opener, “All Because Of Me,” which also appears on the extended version of “It Leads To This,” carries a touch of Radiohead’s influence. Steve Kitch’s keyboard work on this mini-album draws heavily from 1980s synth-pop. Standout tracks include the title track and the closer, “No Friend Of Mine,” the heaviest track on the album, with drummer Gavin Harrison taking centre stage. Essential for any prog enthusiast, this is not just music—it’s art. (Ad Keepers) (9/10) (V2-Records/Kscope)
Brad Mehldau, Mark Turner, Peter Bernstein, Larry Grenadier & Bill Stewart – Solid Jackson
A new release from the esteemed Criss Cross Jazz label brings together a stellar lineup of veterans who have earned their stripes in modern jazz. The chemistry between these musicians is unsurprising, given their frequent collaborations in the New York jazz scene of the 1990s. The album strikes a pleasant balance between tradition and innovation, with Mark Turner’s thoughtful saxophone lines and Peter Bernstein’s eloquent guitar work standing out. This is especially evident in “Dirty for Dewey,” the album’s highlight, showcasing a brilliant melodic partnership between sax and guitar. Larry Grenadier’s bass and Bill Stewart’s drums provide a solid foundation, with Stewart’s drumming as refined and inventive as ever. Brad Mehldau’s piano subtly colours the harmonic structures. It’s fascinating to hear how these musicians, who have known each other since their early days with the likes of Joshua Redman and Pat Metheny, still find new pathways within traditional jazz frameworks. Though not groundbreaking, the album offers eight compositions that demonstrate craftsmanship and mutual familiarity. The ensemble’s elegance and ease seamlessly blend tradition and individual expression. A solid jazz album that may not break new ground but showcases excellent musicianship and interplay. (Jan Vranken) (7/10) (Criss Cross Jazz)
Leo Sayer – 1992
Somewhere in the twilight between the polished 1980s and the raw grunge revolution, Leo Sayer recorded an album that would wait thirty years to see the light of day. “1992,” finally unearthed, captures a crucial moment: an established pop star without a record deal, searching for his place in a changing music world. Recorded in home studios and polished in prestigious London and Munich studios, the album bears Sayer’s unmistakable signature. His voice, once propelling “You Make Me Feel Like Dancing” to the top of the charts, remains warm and seasoned. “Rainbow’s End” stands out as a potential hit that never was. However, this is more a time capsule than a comeback. The production unmistakably reflects early 1990s middle-of-the-road pop—skilled but dated. For fans, the album offers a fascinating glimpse into a lost chapter of Sayer’s career. For others, it illustrates how the music world evolves: what was overlooked in 1992 finally gets its moment in 2024. Whether that moment will be long enough to matter remains to be seen. (Jan Vranken) (7/10) (Demon Music Group)
Luh Ceo – Luh Ceo
In an era where every teenager with a microphone and a dream can call themselves a “CEO,” 18-year-old Luh Ceo from Mississippi presents his debut album—a collection of eleven tracks that says more about the state of contemporary hip-hop than perhaps intended. Backed by 1501 Certified Entertainment, the album tells the story of a young Black entrepreneur “making waves” in the music industry. However, tracks like “Industry Freestyle” and “Who is You” echo countless SoundCloud rappers before him—similar voices, trap beats, and familiar street tales. Between the brash tracks about “big booties” and “never lackin’,” the album attempts to capture various moods but feels like a teenager imitating Spotify playlists. The production, handled by numerous producers, is competent but predictable—ticking off trendy soundscapes as if following a checklist. It’s the kind of hip-hop you could hear in a youth centre in Almere-Buiten or Dallas. The authenticity that hip-hop once championed is lost in a sea of market research and TikTok trends. Is Luh Ceo talented? Perhaps. Is he the voice of a new generation? Likely not. What we hear is an industry so desperate for the next big star that it has forgotten what makes stars special. (Elodie Renard) (4/10) (1501 Certified Entertainment)
P.S. Wondering where the other 6 points went? They likely disappeared into the same filter as Luh Ceo’s authenticity.
Norman van den Wildenberg