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. This 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
Allison Philips – Make It Better
Each generation wants the next generation to have it better, to do better. This would have been no different in the case of Allison Philips. The women on the cover of “Make It Better” are the deceased grandmother and aunts of the young trumpeter who captures her memories of these women in eight compositions. But they are more than memories: in the pieces we hear the connection with the women who shaped her and thereby the evolution in Philips’ playing. Philips’ sound is warm, supple, yet dynamic and powerful: every note, every attack matters. Most of the pieces on “Make It Better” were written by Philips during the pandemic. Sometimes you hear the loneliness of that period, as in “Interlude” where we only hear her trumpet. It’s a beautiful, serene, magical moment on the album; the kind of moment you would want more of because here the technique is made subordinate to the emotion, to the story that needs to be told. That Philips possesses excellent technique should come as no surprise: she refined her playing during her education at the Amsterdam Conservatory and New School for Jazz and Contemporary Music. We hear that technique in up-tempo, swirling dialogues between her and tenor saxophonist Neta Raanan, for example, in the opening “Welcome Back Daisy”. Grandmother and aunts would have been proud, that we know for sure. (8/10) (Jeroen Mulder) (Dox Records)
Ominous Ruin – Requiem
Ominous Ruin is a technical death metal band from the United States, founded in 2010. Until the release of “Amidst Voices That Echo In Stone” in 2021, Ominous Ruin’s career hadn’t gained much momentum. Not that the band had been idle between 2010 and 2021. They released various demos and an EP called “Exiled,” but this did not lead to the desired results. Four years later, Ominous Ruin returns with the follow-up “Requiem.” The biggest change is vocalist Crystal Rose replacing Adam Rosado, who left Ominous Ruin last year. Crystal Rose is a revelation. She possesses a grunt that many male colleagues could be jealous of. Top-class! On “Requiem,” Ominous Ruin treats us to seven complete songs and two musical interludes. On “Bane Of Syzygial Triality,” the guitarists show they can also handle the acoustic guitar skillfully. Fans of technical death metal with occasional touches of black metal have an excellent album to add to their collection. (Ad Keepers) (8/10) (Willow Tip Records)
Giant – Stand and Deliver
After waiting twelve years between “Shifting Time” (2022) and their previous album, the melodic rock band Giant hasn’t waited long to come up with a follow-up. “Stand and Deliver,” which will be released on May 16, 2025, proves that since their return to Frontiers Records, the band continues as if there had never been a hiatus. The new album sounds as if time has stood still. The update is more in the production, which is truly spot-on, than in any musical development or innovation. But is that a problem? Not at all! If you love this AOR-style rock, then this is a more than fine album with very good guitar work, as you indeed heard a lot in the 1980s. There are no bad songs on this album. “Beggar’s Can’t Be Choosers,” one of the heavier pieces, will undoubtedly become a live favourite. The vocals sound familiar and powerful, while the rhythms and melodies offer exactly what fans of the band expect. Giant remains true to their roots and delivers with “Stand and Deliver” a solid rock album that perfectly aligns with their earlier work. This is a band you might see live soon, and it’s certainly worth it. A deserved 7 out of 10. (Anton Dupont) (7/10) (Frontiers)
Premazzi/Nasser Quartet – From What I Recall
Italian pianist Simona Premazzi and American saxophonist Kyle Nasser met more than ten years ago in New York, where they often share the stage live. It wasn’t until 2021 that they decided to form a quartet, complemented by bassist Noah Garabedian and drummer Jay Sawyer. This “From What I Recall” is their debut. The foursome delivers improvisation jazz that at times feels quite complex; occasionally, the namesakes of this ensemble seem to lose themselves in the passion of playing, and this even applies to Sawyer. Yet the quartet manages to keep the compositions accessible, though this is mainly thanks to Garabedian’s bass, which keeps the tracks neatly on track despite all the frivolities that Premazzi and Nasser allow themselves. That bass just keeps going relentlessly and sometimes gets to claim a spot for itself, for example, in “Back Seat.” Listening tips are “Persistence of Change,” which begins with a drum solo before the theme is introduced. The improvisations in this piece are controlled, which is a relief. The same goes for “Requiem for K.O.”: a wonderful piece in which the saxophone subtly introduces one of the most beautiful bass solos ever. (Jeroen Mulder) (8/10) (OA2 Records)
Billy Nomates – Metalhorse
On her third studio album, “Metalhorse,” Billy Nomates (aka Victoria Ann Maries) confirms why she is one of the most refreshing voices in contemporary music. This new work explores themes such as loss and uncertainty with impressive musical diversity and courage. The title track opens the album with a fascinating arrangement in which an organ wages a musical battle with drums, while the outro takes you to a seaside resort like Brighton, where piano music floats through the air. Particularly captivating! In “Nothin Worth Winnin” you hear the influence of Sleaford Mods, which is certainly a plus given their previous collaboration. On “the Test,” Billy suddenly sounds like a stylised Chrissy Hynde; Nomates can truly go in any direction. The album combines elements of synth-pop, punk, blues, and folk in a way that is both accessible and challenging. With eleven songs and a playing time of 36 minutes, “Metalhorse” offers a musical journey that never bores. With “Metalhorse,” Billy Nomates delivers an album that certainly makes listeners curious about her live performances. A versatile work that demonstrates artistic growth and courage. (Jan Vranken) (8/10) (Invada Records UK)
