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
Ron Magril – Inspired
The Israeli guitarist Ron Magril leaves no doubt about who his great source of inspiration is: Wes Montgomery. Magril is certainly not alone in this, as Montgomery influenced countless jazz guitarists. Listen to “Polka Dots and Moon Beams” by Montgomery and then to “Affirmation” (from the album “Breezin”) by George Benson. Pay particular attention to the articulation of the notes and the way they are struck. Do we hear this reflected in “Inspired” by Magril? That should be immediately evident in the opening track “Playing for Wes.” The answer is unequivocal: yes. Accompanied by Yonatan Riklis on Hammond and drummer Ofri Nehemya, Magril demonstrates in eight compositions that he is blessed with golden hands, capable of producing enviable sounds from a guitar—though it must be said that the Hammond gives the overall sound an irresistible depth and accompanying vibe. However, there is a major difference between Montgomery and Magril, a difference that pure talent alone does not bridge. Montgomery always played in service of the musicians around him, occasionally adding a chord—just enough to give a piece its soul. A fine example of this is “In Your Own Sweet Way.” This requires self-restraint, or rather, the ability to completely step back. At times, the “noodling” on six strings becomes truly grating, as in the ten-minute-long “Africa.” After several minutes, it becomes apparent that Magril’s inventiveness has limits, as patterns are repeated just a bit too often. Fortunately, there are quiet pieces like “Neri” and “Cool Breeze,” where Magril plays more restrainedly. That is when you truly hear that he is a talent—but one who still has much to learn. Time to revisit those Wes records. (Jeroen Mulder) (6/10) (GleAM Records)
A.J. Croce – Heart of the Eternal
On “Heart of the Eternal,” A.J. Croce unfolds a sonic landscape where loss and hope intertwine like complementary threads in a musical tapestry. This concise album of eleven tracks, lasting just over half an hour, is proof that heredity in songwriting can be undeniable, but also that personal transformation through trauma can open new musical horizons. Produced by Shooter Jennings (himself an heir to outlaw country legend Waylon Jennings), this collection exudes a soulful authenticity rooted in both tradition and contemporary expression. “On a Roll” resonates with the spirit of A.J.’s father Jim, as if a lost song has suddenly been rediscovered while remaining entirely grounded in A.J.’s distinctive piano playing—fingers dancing over the keys like spellbinding gestures. “Reunion” is undeniably the highlight, a song infused with the humid soul of New Orleans, evoking the spiritual electricity of the Neville Brothers. David Barard’s backing vocals add layers of emotional texture reminiscent of his work with the legendary Solomon Burke, placing Croce’s music within a rich continuum of American soul tradition. What makes “Heart of the Eternal” extraordinary is how personal suffering (following the sudden loss of his wife in 2018) is transformed into a universal connection. Jennings’ production creates an environment where vintage soul textures blend with contemporary rawness. This forms the perfect foundation for Croce’s weathered yet resilient voice, carrying the hard-won wisdom of someone who has repeatedly used music as both refuge and redemption. (Jan Vranken) (8/10) (BMG)
ARQ – SEMA4
Musicians will recognize this: performances are often recorded for later review, to improve things. Such recordings are rarely intended for a larger audience. Bassist Alison Rayner listened to the recordings of her quintet made at The Vortex Jazz Club in London and noticed the special vibe that performed a unique charge: everyone needed to hear this. Thus, we now have “SEMA4,” a live album. SEMA4 refers to semaphore, a mechanism that ensures synchronized operation of parallel or distributed programs—just as musicians in a quintet must be in sync. Rayner, guitarist Deirdre Cartwright, pianist Steve Lodder, saxophonist Diane McLoughlin, and drummer Buster Birch have played together for twelve years and form a harmonious unit in their parallel diversity. Bandleader Rayner gives her band members plenty of space in her compositions, allowing them to take the spotlight before seamlessly blending back into the collective. Rayner’s double bass is prominently present in every piece, flawlessly steering the whole ensemble. The gears click together at precisely the right moments. The group embraces a variety of styles: from pure jazz to folk, blues, and Latin. Each track showcases their versatility and skill. The opener “Espiritu Libre” makes a strong entrance with a delightful percussion intro. Then we recline and let the laid-back “Lookin’ for a Quiet Place” wash over us, before surrendering to the swing of “Hamble Horror” and indulging in the thick reggae vibes of “Semaphore.” We can only thank Rayner for deciding to release these recordings. Following the closing track, we wholeheartedly agree: “All Will Be Well.” (Jeroen Mulder) (8/10) (Blow the Fuse)
Emma Steinbakken – Hurt People
In the crystal-clear landscape of Scandinavian pop, Emma Steinbakken emerged as a promising star; her 2023 album “Home” showcased a clarity and emotional maturity that belied her young age. The Norwegian singer-songwriter, then just 20 years old, created a collection balancing commercial accessibility with authentic emotional resonance—her voice carrying both the chill of northern winters and the warmth of intimate confession. “Home” positioned Steinbakken as a rising star in the Scandinavian pop domain. Each song was a carefully constructed sanctuary where her powerful vocals could dwell, supported by production that enhanced rather than obscured her storytelling. Standouts like “Used to Love” and “Gold” shone with radio-ready brilliance while retaining the emotional integrity that earned her a Spellemannprisen nomination. Two years later, “Hurt People” does not arrive as the expected full-fledged follow-up but as a six-track EP that suggests creative hesitation rather than artistic evolution. Where “Home” felt like a confident arrival, “Hurt People” meanders through overproduced reverb landscapes that obscure the signature Nordic clarity that made her earlier work so compelling. The EP suffers from a committee-driven approach to songwriting. Songs bearing the fingerprints of multiple composers (sometimes six) feel pulled in conflicting directions, diluting the authenticity of her earlier work into formulaic contemporary pop structures. The production stifles rather than elevates, wrapping potentially intimate confessions in layers of unnecessary embellishment. What is most conspicuously absent is the fresh Scandinavian sensibility that initially set Steinbakken apart—the unique alchemy of melodic directness and emotional transparency that has become the region’s trademark. Instead, “Hurt People” feels geographically and artistically adrift, reaching for universal appeal at the expense of a distinctive identity. This EP does not represent evolution but retreat—a step back into safer, more generic territory. Yet, in this disappointment lies hope; promising artists often navigate creative valleys before soaring to new heights. For Steinbakken, “Hurt People” may be less a definitive statement than a necessary detour on a longer artistic journey yet to unfold. (Anton Dupont) (5/10) (Ada Nordic)
The Wildhearts – Satanic Rites of
This album relentlessly transports us back to the shadowy corners of the late 1970s, where glam rock and raw sleaze metal embraced in smoky, beer-drenched clubs. The Wildhearts, led by the chaotic Ginger, deliver forty-five minutes of music that in 2025 feels almost alien—a Fremdkörper among contemporary productions. The instrumental execution is skilled, with guitar riffs bordering on the excessive, while the vocals remain functional. As a relic from that same musical prehistory, I feel an unexpected kinship with these sounds—an emotional response I both cherish and lament. This is music meant to be blasted at full volume through open car windows—a noisy therapy against melancholy. The unmistakable “Beavis and Butthead” spirit permeates every note, a nostalgic nod to an era where irony and sincerity coexisted effortlessly. (Jan Vranken) (6/10) (Snakefarm Music Group)
Romy van der Lee