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 we post an overview of albums that arrive at the editors in brief reviews today.
Photo (c) Jorge Fakhouri Filho
Joey Bada$$ – Lonely at the Top
After a three-year silence, Joey Bada$$ returns with “Lonely at the Top”, a compact yet versatile album that showcases his artistic growth. The Brooklyn rapper, known for classics like “Paper Trail$”, proves he’s still relevant in today’s hip-hop landscape. The album, created in six months with a ‘mixtape mentality’, shows an artist who’s comfortable with both his boom-bap roots and modern experiments. Production-wise, Joey surprises with elegant, soulful beats that go beyond his usual grey East Coast sound. “Dark aura” and “Underwater” showcase his ability to handle diverse vocal styles, ranging from Don Toliver-like melodies to J. Cole-like introspection. Guest contributions from Ab-Soul, Rapsody and Westside Gunn add texture without overshadowing his own story. The album could have benefited from more focus on Joey’s solo material, given his lyrical potential on tracks like the cinematic title song. “Lonely at the Top” proves that Joey Badass still knows how to modernise traditional hip-hop. A solid return that will charm both old fans and newcomers. (Elodie Renard) (7/10) (Columbia Records)
Gabriel Alegría Afro-Peruvian Sextet – El Muki
Once, ‘taqui’ was probably the only music that echoed high and nasal between the mountain ridges of the Andes. Until the Spanish arrived, bringing thousands of Africans as slaves to Peru between the 16th and 19th centuries, along with other musical influences. This created a particularly rich mix of indigenous, Spanish and African influences. Gabriel Alegría adds another element to this mix: with his Afro-Peruvian Sextet, he has been making ‘festejo’ for over twenty years, enriched with the jazz he picked up in New York. We hear African rhythms, combined with driving South American temperament and the ‘coolness’ of American jazz and bop rhythms, artfully interwoven by Alegría. Every arrangement hits home, the unmistakable work of a craftsman who takes his listener along, overwhelming and immersing them like the majestic waves of the Pacific Ocean on which surfers from Mancora Beach let themselves be carried gracefully yet daringly. That’s Alegría’s music: it waves, sometimes intense, then restrained again. “Luciérnagas/Fireflies” is one of the quieter numbers, introduced by beautiful acoustic guitar playing by Jocho Velásquez. The energy then returns squared in “Mala Señal/Bad Sign”. One of the highlights is the funky “La Zafira/The Harvest” which builds up to an apotheosis where you can actually feel, smell and taste the rich harvest. The cover of the Police hit “Walking on the Moon” threatens to become a very disappointing ending to the album, but here too, Alegría’s craftsmanship doesn’t let us down by inserting a special break as a prelude to a wonderful finale. Worthy of festejo. (Jeroen Mulder) (8/10) (Saponegro Records)
Brad Mehldau – Ride into the Sun
Jazz pianist Brad Mehldau ventures once again into interpretations of pop music, this time with an extensive tribute to the tragically deceased singer-songwriter Elliott Smith. On “Ride into the Sun”, Mehldau transforms ten Smith compositions into intimate jazz arrangements, supplemented with four of his own compositions that breathe Smith’s spirit. The album opens beautifully with “Better Be Quiet Now”, where Mehldau’s rich piano tones are supported by an 18-piece orchestra conducted by Dan Coleman. Guests like Daniel Rossen (Grizzly Bear) and Chris Thile add textural layers, particularly audible on the captivating “Tomorrow Tomorrow”. Mehldau’s reworking of Smith’s well-known “Between the Bars” shows his ability to sublimate melancholy without losing the original emotion. The pianist succeeds in lifting Smith’s vulnerable songs from their depressive context, acknowledging the pain whilst also offering hope. Highlights are the solo piano pieces “Sweet Adeline” and “Sweet Adeline Fantasy”, where Mehldau’s virtuosity comes fully into its own. The nearly ten-minute title track closes the album masterfully as a contemplative journey through Smith’s musical legacy. (Jan Vranken) (7/10) (Nonesuch Records)
Eric Gales – A Tribute to LJK
Eric Gales delivers with “A Tribute to LJK” a heart-wrenching yet rousing tribute to his brother Manuel ‘Little Jimmy King’ Gales, who died in 2002. This Memphis bluesman assembles an impressive cast around him: Buddy Guy, Joe Bonamassa, Christone ‘Kingfish’ Ingram and Josh Smith all contribute to this emotional tour de force. The album bursts with energy from the opening “You Shouldn’t Have Left Me”, with Gales’ left-handed guitar playing burning with passion. “Don’t Wanna Go Home”, featuring Bonamassa’s cutting solo, has that slinky groove reminiscent of Prince’s “Kiss” – instantly recognisable and irresistibly catchy. The collaboration between three generations of blues legends on “It Takes a Whole Lotta Money” demonstrates the camaraderie within the blues world. Gales miraculously manages to breathe new life into his brother’s legacy without betraying the original songs. The production by Bonamassa and Smith sounds warm and full, with enough space for each instrument. The album ends powerfully with “Somebody”, where Buddy Guy’s experienced voice harmonises perfectly with Roosevelt Collier’s slide guitar. A masterpiece that honours Manuel Gales and confirms Eric’s status as one of the world’s best guitarists. (Jan Vranken) (9/10) (Provogue)
Sabrina Carpenter – Man’s Best Friend
After the commercial success of “Short n’ Sweet”, Sabrina Carpenter quickly returned with “Man’s Best Friend”, an album that stands out mainly for its sexually charged wordplay and controversial album cover. With producer Jack Antonoff at the helm, she navigates through 38 minutes of pop-rock that both entertains and irritates. The album starts strongly with the hit “Manchild”, a country-tinged indictment of immature men that immediately sticks in your head. “Tears” shows Carpenter’s comedic talent when she sings about how attractive it is when a man assembles IKEA furniture – think Alanis Morissette’s “Ironic” but intentionally funny. The disco-inspired production works perfectly with her playful word choice. Unfortunately, the concept becomes diluted by too much repetition of the same themes. Tracks like “Sugar Talking” and “We Almost Broke Up Again Last Night” feel like filler, whilst the constant sexual innuendos lose their impact through abundance. “Go Go Juice” does bring back the energy with its infectious chorus about drunk ex-boyfriends texting. Carpenter undeniably shows her ability for clever pop and comedic timing, but “Man’s Best Friend” feels more like a hasty follow-up than a lived-through artistic step forward. (Jan Vranken) (6/10) (Island Records)
Jan Vranken