Dozens of new albums arrive at Maxazine’s editorial staff every week. There are way too many to listen to them all, 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.

Nanani Haruta – The Vibe

There is only one real reference when it comes to the trombone in jazz: Jay Jay Johnson. His Magnus opus “The Eminent” appeared a few years ago on a beautiful double album. The trombone is a difficult instrument in jazz, making it all the more praiseworthy when a young jazz musician takes up the challenge. Japanese Nanani Haruta started on the piano but later switched to brass. “The Vibe” is her debut that almost naturally begins with a piece that pianist Renee Rosnes wrote for Johnson. In this “Girlie’s World,” she immediately shows that she can grow into a worthy successor, although they are big shoes to fill. Yet we have confidence. Her tone is fresh, well-articulated, and clearly articulated even in faster tempos, something that shows she masters the instrument, although it doesn’t hurt that her mentor Michael Dease accompanies her in many pieces on a baritone saxophone. The result is a beautiful, rich sound that comes into its own, especially in her compositions such as the melancholic “Heartstrings” – in which she makes the trombone sound very subtle – and the wonderful “Unchained Melody” as the highlight and also the closer of an album that makes us curious enough. Last year, Haruta won the prestigious Carl Fontana Jazz Trombone Competition. Deservedly so. Because it’s clear that we’re dealing with a talent here. (Jeroen Mulder) (7/10) (Origin Records)

Fields of Næcluda – UBUNTU

Fields of Næcluda is a French crossover prog band consisting of singer, bassist, keyboardist Michel Teyssier, guitarist Etienne Doucet, and drummer Mathieu Schricke. “UBUNTU” is the second album from this trio. Chris Edrich and Pierrick Noel, who have also worked with similar acts like Leprous and The Ocean, are responsible for the excellent transparent sound. About the musical offering, I can be brief. For an hour, we hear well-played post-progressive rock that will especially appeal to fans of the aforementioned bands Leprous and The Ocean. People who appreciate Steven Wilson should give “UBUNTU” a listen. Tracks that stand out are “Lost In Translation” and the closing title track “UBUNTU” with a beautiful flute that ensures this song stands out a bit more than the rest of the compositions. (Ad Keepers) (7/10) (Inouïe Distribution/Tchookar)

Everything Is Recorded – Richard Russel is Temporary

In Richard Russell’s newest universe “Temporary,” electronic innovation and folk tradition merge into an immersive meditation on impermanence. As the mastermind behind XL Recordings, he gathers an impressive constellation of voices—from Florence Welch to Jah Wobble and Maddy Prior—in a production that feels like a carefully designed kata exercise. ‘My and Me’ opens as a sensory enchantment that physically pulls listeners into the speakers, while ‘Porcupine Tattoo’ intertwines Noah Cyrus’s crystal-clear vulnerability with Bill Callahan’s cavernous baritone—an unlikely but devastating harmony. The album culminates in ‘Never Felt Better,’ a composition of such blood-curdling beauty that it takes your breath away. Russell’s production serves as emotional architecture in which digital textures and organic voices reinforce each other. If “Temporary” just misses perfection, it’s only because it doesn’t invent a completely new musical language. Nevertheless, Russell creates an essential work that, ironically given the title, leaves a permanent impression—one of the most convincing releases of the year. (Jan Vranken) (9/10) (XL Recordings LTD)

Ben Mazué – Famille

In “Famille,” the fifth album by French singer Ben Mazué, we witness a beautiful transformation. Where his earlier work was often steeped in introspective melancholy, here unfolds a lighter, more universal soundscape that embraces us all. The eleven compositions flow like a refreshing summer breeze through the speakers, with Mazué’s characteristic voice – simultaneously velvety and raw – carried by arrangements that surprise without alienating. This musical cocktail fizzes with spontaneity and intelligence. Thematically, family forms the backbone of this album. Mazué paints with subtle brushes portraits of fatherhood (‘C’est l’heure’), childhood (‘Tony Micelli’), and the complex family dynamics that shape us all. In ‘Cécile Gagnant,’ he even addresses a daughter he never had – a touching moment of hypothetical intimacy. But Mazué’s gaze reaches beyond his personal history. In songs like ‘La valse de mamie’ and ‘Tous tes amis l’adorent,’ he transforms into a masterful storyteller who feels and voices others’ lives with respectful precision. “Famille” is ultimately a sparkling album that, despite its serious themes, feels like a refreshing drink on a hot summer day – invigorating, slightly intoxicating, and with an aftertaste that invites another sip. (Jan Vranken) (8/10) (Sony Music Entertainment)

Panda Bear – Sinister Grift

In the twilight landscape between experimentation and accessibility, Noah Lennox’s latest album comes to life. “Sinister Grift” marks Panda Bear’s return after five years of silence, an album that feels both familiar and surprising in his musical legacy. Where Lennox’s earlier work often drowned in reverb and samples, this record breathes a refreshing directness, with only the excess of reverb remaining as a reminder of earlier work. The Beach Boys-like harmonies remain but are now embedded in a rich instrumental palette that Lennox largely plays himself. The result is a collection of Beatles-esque pop songs that effortlessly appeal to the ear while simultaneously revealing a deeper emotional layer. ‘Praise’ opens as a colourful invitation, harmonious and accessible, but soon ‘Anywhere But Here’ unfolds Lennox’s talent for creating soundscapes that both glitter and cast shadows. The A-side forms a kaleidoscopic journey in which melodic textures from reggae to Latin are interwoven with penetrating reflections on life after divorce. When we reach the B-side, the tone deepens noticeably. ‘Left In The Cold’ and ‘Elegy For Noah’ show Lennox’s vocal versatility at its peak, where his Brian Wilson-inspired harmonies transform into something that feels both playful and transcendental. The experimental spirit that characterizes the first half crystallizes here into a painfully striking coherence. For the first time in his solo career, Lennox has invited all members of Animal Collective, along with guests like Cindy Lee and Spirit of the Beehive’s Rivka Ravede. This collaboration gives the album a warm, collective energy that feels surprising within Panda Bear’s oeuvre. “Sinister Grift” is an album of paradoxes and contrasts that presents itself with crystal-clear intention despite its complexity. As the final notes fade away, you notice your hand already reaching for the needle to begin the journey again – there are still so many musical corners to be re-explored. (Anton Dupont) (7/10) (Domino Recording Ltd)