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
Papa Shango – Live at Glastonbury
What do you do if you have a large group of friends who love music? You start a band, simple as that. Twelve friends formed the Vodou rock band Papa Shango in 2003, named after the worst persona of a professional wrestler ever, Charles Wright. At the helm is Loa Papa Rob, a personal take on the Vodou god Papa Legba, who serves as the mediator between the living and the dead. Feel free to call Papa Rob the connector between people and music. In 21 years, Papa Shango has released three albums, several singles, and now a live album, and “Live at Glastonbury,” recorded on the Pyramid Stage where they performed, undeniably proves that Papa Shango is one of the best live bands in England. Sure, their studio albums showcase great quality but live, this is simply one big party. It’s proof that friendship is the most important ingredient when it comes to making music. Musically, it could be better, although Papa Shango consists of excellent musicians (unfortunately, we couldn’t judge the accompanying permanent dancers who are part of the band). This is 100% an example of how a live band should sound. But the best part is just hearing the joy the band has. That’s exactly what music is about, and Papa Shango is therefore a perfect example of how music should sound—especially live. (Norman van den Wildenberg) (7/10) (Papa Records)
Last Temptation – Heart Starter
I received this album in my inbox with the note, “I think this might be something for you.” It certainly is! “Heart Starter” is the third album by this French band that plays classic rock and sounds more “American” than many bands actually from America. There are no ballads on this album. All ten tracks are energetic classic rock songs with something for everyone. A touch of Van Halen can be heard on “Live By Night,” and the short closer “We Are Alive,” with its acoustic guitar and (choir) vocals, is reminiscent of Extreme. The cover of the disco hit “Born To Be Alive” by fellow countryman Patrick Hernandez wasn’t necessary for me, but that’s a matter of taste. If you’re looking for music with a classic sound and a modern edge thanks to its crisp production, this is your album. (Ad Keepers) (8/10) (Metalville)
Amen Dunes – Death Jokes II
“Death Jokes” by Amen Dunes: an album as profoundly meaningless as a philosophical discussion with a drunken ant. The album has been out for a while, but why it ended up on my desk now? Must be karma. Damon McMahon has decided to commit musical suicide with a collection of sound fragments that resemble headphone interference more than anything that dares to call itself music. After years of preparation—five years, no less—McMahon has delivered a masterpiece of mediocrity. A cultural disgrace that would disgust even the most patient music lover. The album feels like an artificial intelligence accidentally generated a collection of random noises, mistakenly believing it to be music. The influences of rap and electronic music? Let me laugh. It sounds more like interference from a cheap synthesizer that accidentally fell into a trash can. McMahon’s keyboards—newly learned during the creation of this sonic disaster—sound as if played by a lost octopus with broken fingers. Even contributions from “renowned musicians” cannot save this musical catastrophe. It’s like asking Picasso to splash some paint on a public toilet wall—it’s still a toilet, dear listener. “Death Jokes” is exactly that: a joke. But one where no one laughs, except perhaps McMahon himself, who is probably chuckling out loud as he unleashes this audio abomination upon the world. Conclusion: only buy this album if you have a supreme hatred for your ears, your sanity, and the fundamental principles of musical cohesion. Otherwise: stay far, far away. (Jan Vranken) (1/10) (Sub Pop Records)
Love Ghost x SKOLD – Love Ghost x SKOLD
This album is a collaboration between US indie/alt-rock outlaw Love Ghost (Finnegan Bell) and Swedish industrial legend Tim Skold, who first rose to fame with the glam-metal band Shotgun Messiah but later made a name for himself with industrial acts like Marilyn Manson. “Love Ghost x SKOLD” mixes rock, grunge, ska, metal, emo, and hip-hop. There is also extensive use of spoken-word vocals. The lyrics are intelligent and open to multiple interpretations. The album’s atmosphere is dark, precisely what these two artists aimed to achieve with this collaboration. The best track is “Level Up,” which resembles Marilyn Manson’s “The Beautiful People.” Recommended for fans of Marilyn Manson, Nine Inch Nails, and avant-garde/industrial metal in general. (Ad Keepers) (8/10) (Metropolis Records)
St. Etienne – Night
In the nocturne of “Night,” Saint Etienne unravels their musical mythology, crafting an ethereal soundscape suspended between memory and melancholy. This isn’t an album but an atmospheric journey through the liminality of urban nocturnal reflections—a sonic tapestry woven from distant echoes, ambient textures, and Sarah Cracknell’s intimately whispered vocals. Bob Stanley and Pete Wiggs have always been musical alchemists, and here they transform sound fragments into something deeply introspective. The production—though occasionally too reverberant, creating a slight tonal haze that sometimes obscures subtle details—serves the album’s dreamlike quality. “Nightingale” emerges as the luminous centrepiece, a track that captures the fleeting essence of the entire album: delicate, mysterious, hovering between wakefulness and dreams. More than a collection of songs, “Night” feels like a whispered confession, an intimate exploration of musical memory that rewards patient listening. An exquisite, subtle dish that tastes just right. (Jan Vranken) (8/10) (PIAS)
Norman van den Wildenberg