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’ desks today, along with brief reviews.
Photo (c) Jorge Fakhouri Filho
Brahmashiras – Trinitite
With “Trinitite”, Brahmashiras deliver an intense album that is deeply rooted in contemporary metal. It opens with “Wax Cities Ruby Towers”, a track that immediately sets the tone through a mix of aggressive guitars, blisteringly fast drum patterns and screaming vocals. Throughout the album, tracks alternate in tempo and dynamics, keeping the listener constantly engaged. The contrast between faster, harsher passages and slower, more ominous sections, such as in “Ashes of Tomorrow”, gives the record a layered intensity. The bass lines are given ample space and provide a solid foundation beneath the chaotic melodies. The album contains no unnecessary decoration; everything appears carefully chosen to convey raw emotion. The production is tight and controlled, allowing each instrument to come through clearly without sounding clinical. “Trinitite” showcases a band willing to experiment within their genre, allowing space for both melodic and extreme elements. The album feels like a statement of experience and skill, and the variation in composition holds the attention from start to finish. It is an album that will likely translate powerfully to the live stage, where its energy should become even more forceful. (Tobias Braun) (8/10) (Caligari Records)
Acaz – Epilog
Acaz’s “Epilog” is an album that invites careful listening and reflection. From the opening track “Last Light”, an atmosphere is established that feels both warm and introspective, carried by gentle guitar tones and subtle percussion. The vocals are restrained and used as an additional instrument rather than a focal point, allowing tracks such as “Fading Embers” and “Hushed Voices” to breathe fully. The album builds gradually and offers a consistent experience, with each track carefully positioned to create a sense of completeness. The production emphasises clarity and detail without feeling clinical or overly polished. Each song feels like a moment of calm, where silence and sound alternate to convey emotion and nuance. The use of acoustic instruments enhances the sense of intimacy and gives the album an organic, natural sound. “Epilog” is not designed for quick consumption, but instead rewards repeated listens to fully appreciate its subtle layers and textures. The result is a coherent and personal musical diary that leaves a quiet yet lasting impression. (William Brown) (7/10) (No Return Records)
Nicki Minaj – Pink Friday 2: The Hiatus
Nicki Minaj closes the “Pink Friday 2” era with “The Hiatus”, the definitive deluxe edition released exactly on the first anniversary of the original album. This release follows earlier deluxe versions, “Gag City Deluxe” and “Gag City Pluto Edition”, and once again includes new material that Minaj had already teased during her tour. The title “The Hiatus” has provoked mixed reactions among fans, with some fearing it signals an impending break in Minaj’s career, although the rapper herself has denied any plans to stop in the near future. The new material remains faithful to the formula that made “Pink Friday 2” so successful, with Minaj combining her trademark rapid-fire flows with melodic hooks and personal lyrics. The production remains varied, blending influences from trap, pop and classic hip hop. Minaj once again demonstrates why she is regarded as one of the most influential female rappers of her generation, with a unique ability to deliver both aggressive bars and emotional moments. The project serves as a fitting conclusion to an era that has placed Minaj back at the top of hip hop, achieving the highest-grossing tour ever by a female rapper. For fans, “The Hiatus” is a welcome gift that bridges the gap to whatever her next artistic chapter may bring. (William Brown) (7/10) (Republic Records)
SZA – SOS Deluxe: LANA
Two years after the overwhelming success of “SOS”, SZA returns with “LANA”, a deluxe edition that adds fifteen new tracks to the original album. Unlike many deluxe releases, “LANA” feels like a fully fledged statement in its own right, with material that stands comfortably alongside the original “SOS” tracks in terms of quality. The production, largely handled by longtime collaborator Carter Lang, sounds richer and more abstract than the original, placing greater emphasis on experimental textures rather than immediate catchiness. Opener “No More Hiding” sets the tone straight away with tense vocals over spacious synthesisers and guitar arpeggios, as SZA sheds her masks and aims for complete authenticity. The Kendrick Lamar feature “30 For 30” immediately draws attention, even if it is not their strongest collaboration, while “Crybaby”, with its beautiful lilting chorus and soprano finale, ranks among the highlights. “BMF” playfully interpolates the melody of Antonio Carlos Jobim’s “Girl From Ipanema”, and “Kitchen” presents SZA at her most intimate in the form of a stunning ballad. Closing track “Saturn”, released earlier this year, remains one of the most complete songs here, with its chiming hook and classic melodic line. Although some tracks are clearly outtakes that narrowly missed the original album, SZA manages to elevate most of this material with fresh energy. The mix is occasionally inconsistent, and SZA’s voice sometimes sinks into the instrumentation, but this does little to detract from what is essentially a strong continuation of one of the best R&B albums of the decade. (Elodie Renard) (8/10) (Top Dawg Entertainment)
Hugh Jackman & Kate Hudson – Song Sung Blue Soundtrack
The soundtrack to “Song Sung Blue” reflects the film’s narrative through a collection of songs that range from upbeat to contemplative. The title track “Song Sung Blue” opens the album with a warm, cinematic feel, supported by orchestral accents and soft vocal lines that immediately capture the mood of the film. Further tracks such as “Midnight on the Strip” and “Echoes Through Time” offer a mix of jazz-tinged passages and pop-oriented hooks, giving the soundtrack a versatile character. The album remains faithful to the film’s emotional core and offers enjoyment independent of the visuals, with moments of restrained piano playing and spacious instrumentation. The production aligns well with the film’s visual world without becoming overwhelming, resulting in a pleasant and engaging listening experience. (Norman van den Wildenberg) (8/10) (Back Lot Music)
