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
Raze – Pyrography Reignited: Live At Sanctuary Studios
The English alternative metal band Raze blends modern metal grooves with elements like the raw grunge of the 1990s. Their debut album “Pyrography” (2023) was praised by both fans and critics. After their tour, the band performed a one-time acoustic show featuring reworked versions of “Pyrography.” They shared the stage with a string section and an orchestral percussionist. Just before Christmas, the live album “Pyrography: Reignited” was released. The opening seconds of “Maple” aren’t vastly different, but that quickly changes. Soon, I was so immersed in the vocals and music that I stopped comparing, as this transformation felt very natural. Some elements return in slightly altered forms, so it’s not consistently surprising. However, each track features beautiful sections, both vocally and instrumentally. The balance and interplay between the instruments and the (layered) vocals are excellent. At times, there are many layers, all well-distributed across the headphones. Thanks to the high sound quality, the contrasts and blending of high and low tones stand out. This makes me curious about Raze’s future. (Esther Kessel-Tamerus) (8/10) (One Eyed Toad Records)
AWKWARD i – Unalaska
With “Unalaska,” Djurre de Haan, also known as AWKWARD i, takes listeners on an introspective journey. The album, his fourth under this alias, is a musical adventure filled with melancholy, self-irony, and a longing for renewal. The title, inspired by a forgotten coordinate on a faded page, sets the tone for a record that balances vulnerability and strength. From the minimalist opening track “Omaha” to the richly orchestrated “Coming Up Shorts” and the psychedelic “Apocalypse,” De Haan showcases a broad palette of musical styles. Each song feels like a carefully crafted landscape where the lyrics are as enigmatic as they are relatable. The melancholic “Apocalypse” reflects on the fleeting nature of youth and opportunities: “Last chance to be a boy / Last chance to explore.” What makes “Unalaska” remarkable is its natural cohesion. The music exudes tranquillity, as if De Haan let it evolve organically. His lyrics, like those in “Body as a Meadow,” balance between poetic and grounded, sometimes humorously sung by his daughter while riding on the back of his bike. With this album, AWKWARD i once again stake his claim in the realm of absurdity and solace. “Unalaska” feels like a logical continuation of his earlier work, while leaving listeners eager for more. A wonderful addition to his oeuvre. (Norman van den Wildenberg) (7/10) (Excelsior)
Brian Eaton – Trails of Contrition
The music of American multi-instrumentalist Brian Eaton defies easy classification. “Trails of Contrition” navigates between accessible jazz and Americana, performed on various guitars, keyboards, and percussion. Two standout tracks on the album are new versions of previously released pieces: “Travels,” originally by Pat Metheny, and the standard “Detour Ahead,” familiar from interpretations by icons like Billie Holiday or Sarah Vaughan. In Eaton’s “Trail Mix” version, the vocal part is replaced by an acoustic guitar, set against a lush keyboard backdrop. These are signature ingredients of Eaton’s style, which he applies to every piece. Eaton draws from a variety of influences. The opening track, “Where Rivers Meet the Plains,” features an intro that could fit on a Pink Floyd album (complete with flowing water), followed by a repetitive piano theme reminiscent of Oldfield, and then unfolds with a prominent role for percussion. This focus isn’t surprising, as Eaton’s background is in drumming. His signature style ensures the music is easily digestible, never challenging, and smoothly delivered, thanks in part to its polished production. Pleasant listening, especially right after Christmas. (Jeroen Mulder) (6/10) (Eatin’ Records/BSE Music)
A Shoreline Dream – Whitelined
Attention, shoegaze fans. The American duo A Shoreline Dream, consisting of vocalist/multi-instrumentalist Ryan Policky and guitarist Erik Jeffries, collaborates with Ride’s vocalist/guitarist Mark Gardener on their eighth album. Gardener features on three tracks: “Everything Turn,” “Written In Dust,” and “Hollow Crown.” The album also includes two instrumental pieces: the brief “A Spark,” which lasts less than a minute, and “Lost Of The Words,” which I find one of the album’s highlights. It blends shoegaze elements with a dark Gothic vibe in the style of Bauhaus. If you enjoy a varied shoegaze album, “Whitelined” won’t disappoint. (Ad Keepers) (8/10) (Latenight Weeknight Records)
Ice Spice – Y2K!: I’m Just a Girl
Ice Spice’s debut album “Y2K!” is a disappointing example of how commercial ambitions can lead to artistic stagnation. The Bronx-born rapper, who initially impressed with her authentic sound, now delivers a collection of tracks notable for their lack of originality. The mediocre production features generic drill beats that neither surprise nor engage. Where Ice Spice had the opportunity to use her voice to innovate within the genre, she opted to reproduce misogynistic lyrics supplied by male producers and writers uncritically. The album lacks authenticity, energy, and the creativity that characterized her earlier work. Whether these artistic compromises will achieve the desired commercial success remains uncertain. In a music landscape increasingly valuing authenticity, this generic approach could backfire. “Y2K!” ultimately amounts to a predictable collection of tracks, serving as a cautionary tale of how commercial aspirations can lead to artistic self-effacement. It is a missed opportunity for an artist once poised to be the voice of a generation. (Elodie Renard) (4/10) (UMG)
