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 we post an overview of albums that arrive at the editors in short reviews today.
Photo (c) Jorge Fakhouri Filho
Turnstile – Never Enough
Turnstile’s fourth studio album, “Never Enough”, explores the boundaries of hardcore punk with energy and melodic variation. The title track “Never Enough” and singles such as “Seein’ Stars” and “Birds” combine intensity with subtle twists reminiscent at times of The Police-style rhythms and classic hardcore. Reggae influences, Latin horns, and atmospheric synths provide surprising moments without losing the band’s core identity. The album feels coherent over 45 minutes and shows a clear evolution compared to earlier releases like “Glow On”. Thematically, it centres on resilience and connection, presented through both chaotic bursts and reflective passages. For listeners who enjoy complex rhythms and unexpected musical turns, “Never Enough” offers a varied and engaging experience. (Anton Dupont) (8/10) (Roadrunner Records)
Ryan Davis & the Roadhouse Band – New Threats from the Soul
“New Threats from the Soul” is an Americana album featuring seven tracks, including the title song and singles like “Monte Carlo / No Limits” and “Better If You Make Me”. The album blends indie rock and roots storytelling, with warm, layered arrangements and melancholic reflections interspersed with light, joyful moments. The instrumentation and harmonies support the introspective lyrics, with each track contributing to a cohesive atmosphere. Critics have praised the lyrical depth and consistent execution. The album is intended for listeners who appreciate subtle details and thoughtful songwriting, promising a rich listening experience throughout. (Norman van den Wildenberg) (9/10) (Sophomore Lounge/Tough Love)
Destroyer – Dan’s Boogie
Destroyer continues to display inventive songwriting on “Dan’s Boogie”, balancing playfulness with reflection. Tracks like “Bologna”, “Hydroplaning Off the Edge of the World” and “Cataract Time” combine melodic lines with subtle lyrical depth. Piano and synthesiser create a cinematic feel, while the guitar provides a solid foundation. Critics praise the consistent quality and sophisticated production, with each track contributing to the album’s cohesion. The work feels fully realised and engaging for listeners willing to focus on both arrangement and lyrics. (Anton Dupont) (8/10) (Merge Records)
Nad Sylvan – Monumentata
As the year draws to a close, I shine a light on “Monumentata” by prog rock luminary Nad Sylvan. This singer/multi-instrumentalist/composer blends folk, classical, rock, jazz, and early R&B. The high, fragile vocals on the light, poppy opening track are beautiful, though the fade-out is slightly dull. Despite the layers and musical details, I am only truly captivated by the calm, sung opening words of “Monte Carlo Priceless”. The music’s sound is beautifully clear, but lacks a ‘wow factor’ until “Wildfire”, where the music sometimes seems to clash. There are gorgeous details and transitions throughout. When the music is minimalistic, the vocals follow suit. After the accessible “Make Somebody Proud”, engaging tracks follow, containing unique blends of instruments and rhythms. This also applies to the contrast between high (violin and keys) and low (bass) tones. The layered vocals are somewhat sweet in several tracks, harmonising with the music. “Monumentata” needs time to grow, likely because it is Sylvan’s most personal album. (Esther Kessel-Tamerus) (7/10) (InsideOut)
Motörhead – The Manticore Tapes
Motörhead fans can reach for their wallets again. When guitarist Larry Wallis and drummer Lucas Fox were ousted by Lemmy, the classic “Three Amigos” line-up was formed with Eddie Clarke on guitar and Phil Taylor on drums. This album presents the first recordings made with the Kilmister/Clarke/Taylor formation. It is almost unbelievable that all three members of this illustrious trio are now in ‘rock ‘n’ roll heaven’. The trio is clearly not yet in sync, with rough edges apparent throughout. Additional warnings apply to potential buyers: the recordings are 50 years old, which is audible. The sound is raw and unpolished. On tracks like “Iron Horse”, Lemmy’s vocals are barely audible. Do not expect a ‘Greatest Hits’ album. Most tracks are works in progress, although embryonic versions of songs that later appeared on official albums, like “Iron Horse” and “Motörhead”, are present. The album’s value lies primarily in its historical significance, which alone warrants a high rating. Non-hardcore Motörhead fans are better off with the band’s official releases and should subtract two to three points from my final rating. (Ad Keepers) (9/10) (BMG)
