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
Xandersino – IAmWhoIAM
The American artist Xandersino has released his debut album, titled “IAmWhoIAM.” This 13-track record showcases Xandersino’s talent and emotional depth. Residing in Los Angeles, Xandersino demonstrates his versatility on this album through its diverse tracks. From introspective ballads to energetic anthems, every song delivers captivating melodies and honest lyrics. The album opens with the energetic and catchy track “IN-N-OUT,” setting the tone for the rest of the album. Guests 4Khris and JRmøney feature on “Maybe Next Time” and “What Are The Odds,” respectively, and both collaborations significantly enhance the album. Tracks like “Art Gallery” and “Let It Sink In” featuring JRmøney underline Xandersino’s knack for creating infectious hooks, while “Separation Anxiety” reveals his vulnerable side in an emotional track about heartbreak. The album concludes with “Rainy Days,” a sensitive piece supported by minimalist production and beautiful vocals. While some brief interludes, like “4U,” feel like filler, they are forgivable in the broader context. Xandersino’s rap ballads emerge as his strongest asset. This debut album is a statement that Xandersino is here to stay, deserving a follow-up without question. (Norman van den Wildenberg) (7/10) (Xander Sound Inc.)
Anggun – Dangdut Cinta
The Netherlands remains unaware of many global stars, and Anggun is a perfect example. This Indonesian singer, who later conquered Europe and even America with hits like “Snow on the Sahara,” remains relatively unknown in the country. With her new EP “Dangdut Cinta,” she once again proves her musical prowess. This six-track EP is a refreshing return to her Indonesian roots, blending traditional dangdut music with modern production techniques. The result is a masterful fusion of East and West. “Rindu Dekapanmu” stands out as a potential global hit with its infectious melody and excellent production. It’s typical of the Netherlands to overlook such an international talent. Anggun, who has charted hits in France, Italy, and the US, deserves more recognition here. Though short, with only six songs, this EP is everything pop music should be: cheerful, uplifting, and perfectly produced. “Dangdut Cinta” is an excellent showcase of Anggun’s versatility and her ability to merge different musical worlds. (Jan Vranken) (8/10) (Anngun)
Rival Sons – Pair of Aces, Pt2
In December 2024’s crowded EP landscape, where every band seems eager to release material before the year ends, Rival Sons delivers “Pair of Aces, Pt2” – a six-track collection embodying the essence of pure rock ‘n’ roll. These Long Beach veterans, who’ve opened for giants like AC/DC and Black Sabbath, stay true to their formula of gritty guitar riffs and soulful vocals. The EP feels like a relaxed continuation of their ambitious 2023 albums “Darkfighter” and “Lightbringer.” It’s as if, following Grammy nominations and rising commercial success, the band is leaning back, indulging in the joy of playing. Scott Holiday’s guitar work is the heartbeat here, particularly on “Get What’s Coming,” a track that sparks with the energy of a jam session while retaining the polished production of longtime collaborator Dave Cobb. While not groundbreaking, the EP exudes a warmth reminiscent of classic ’70s rock albums. Jay Buchanan’s smoky voice bridges bluesy melancholy and raw urgency. Pairing Rival Sons with DeWolff, as suggested, is spot on – both share a love for authentic rock and a knack for blending vintage sounds with modern energy. “Pair of Aces, Pt2” might not rewrite the band’s history, but it’s a solid reminder of why they’ve evolved from underdogs to respected members of the modern rock family. In a time when overproduction or forced modernity plagues rock, the EP’s straightforward honesty is refreshing. These tracks, though studio leftovers, feel far from throwaways. For rock fans, this is a welcome snack – not the main course but a tasty reminder of Rival Sons’ enduring appeal. (Jan Vranken) (7/10) (Sacred Tongue Recordings)
De-Phazz – Presents de-Drums
As a musical alchemist, Peter “Pit” Baumgartner continues to push the boundaries of lounge music with De-Phazz. “Presents de-Drums” is a 16-track journey through a sonic landscape where jazz, soul, and electronic textures merge into a hypnotic state of being. This isn’t background music for trendy cafes but a carefully constructed soundscape blending meditative depth with refined production. While much lounge music remains superficially cool, De-Phazz crafts a rich tapestry of layered rhythms and atmospheric vocals. The album unfolds like a nocturnal stroll through a dreamlike metropolis, each track exploring a new street or mood. The production is crystal clear, with samples embedded like vintage jewels in modern arrangements. Perfect for long winter evenings, this album facilitates both introspection and conviviality. It proves that, in the right hands, lounge music can transform from background noise into foreground art. It is a masterful demonstration of how mellow can also be profound. (Jan Vranken) (8/10) (Phazzadelic New Format)
Todd Snider – Rest in Chaos (Purple Version)
Todd Snider’s “Rest in Chaos (Purple Version)” feels like a discordant echo from a bygone era, serving as an unwelcome reminder of why some artists should remain silent. This semi-live album opens with an interminable monologue, showcasing how to alienate an audience instantly. A procession of poorly executed street-musician songs follows, where Snider’s once-charming storytelling devolves into self-indulgent rambling that overshadows the scarce musical moments. In 2025, as listeners crave authenticity and craftsmanship, this feels like an anachronistic exercise in ego-stroking. The production is as messy as the performance, with live recordings that sound dubiously authentic, if they are live at all. Stripping away the endless chatter leaves a handful of uninspired chords barely worth hearing. This is neither artistic evolution nor nostalgia – it’s musical self-aggrandizement in its least palatable form. It’s an album that takes its “Rest in Chaos” title all too literally. (Jan Vranken) (3/10) (Aimless Records)
