Recently Played: A Column on Vinyl Records #60

      As is customary, the January column is somewhat abbreviated compared to some previous ones, indicative of the sluggish start typical of every new year. Yet, there’s a substantial array of new titles to explore from those eager to hit the ground running. And if you can predict this month's standout selection before reaching it, I’ll personally reward you with the cash. It’s a surprisingly delightful choice, I assure you.

      Freshly Pressed:

      At the core of Anna B Savage’s third album, ‘You & I Are Earth’, lies two profound loves: her significant other and her recent home, Ireland. The day is filled with twirling, smoky folk driven by her oil-painting-like voice across ten tracks. An exceptionally quiet Optimal pressing conveys the nuanced, expansive soundscape impeccably. The rhythmic shuffle and lyrical bass of ‘Donegal’ are intricately molded within the speaker's surroundings, while Savage’s consistently captivating vocals are given a dynamic presence that physically ebbs and flows with her emphasis. The opening duo of ‘Incertus’ and ‘I Reach For You In My Sleep’ on Side B is genuinely enchanting, initially showcasing instrumental layers evoking a long-lost late-Sixties gem before transitioning into the second track which gradually rises with subtly poignant backing vocals that provide auditory comfort. There’s something uniquely special about this album, and it already feels like one that will linger throughout the year.

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      David Gray presents an impressive thirteenth studio album, ‘Dear Life’, as he enjoys renewed public attention from an anniversary tour and a re-release of the seven-million selling ‘White Ladder’. His distinctive voice remains unchanged over the years, possibly even more imbued with the compelling ache that originally drew many to him. Standout tracks include the simmering opener ‘After The Harvest’, the understated ‘Leave Taking’, and the quite peculiar ‘The First Stone’. The mastering quality is decent, with some areas to maneuver, although the midrange can occasionally feel a bit cluttered. Just Played reviewed the sea blue 2LP edition, with all versions mastered at AIR Studios by Cicely Balston and pressed at GZ. After extricating them from their shiny printed inners, the discs played relatively quietly following a thorough cleaning.

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      Japanese indie band Taffy, known for their love of shoegaze and British indie jangle, has unveiled their sixth studio album, ‘Lull’. Marking their first release in over five years, it introduces new guitarist Rio Kato, who infuses a distinct angularity into the sound. ‘ifonly’ may evoke nostalgic memories of early-Nineties inky-fingered NME browsing, a pleasing resonance, as lead singer Iris’ vocals intertwine gently with a Madchester-inspired bassline. The moody artwork is captivating and the marbled-fog eco-vinyl LP reinforces the aesthetic beautifully. Produced in a limited run through Club AC30, the GZ disc was nearly silent during playback. The mastering leans a bit towards a heavy bottom end but aligns well with the eras being referenced.

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      Americana generated in a Welsh valley by a six-piece from East England is certainly worth a listen, right? Morganway’s third album, ‘Kill The Silence’, showcases their unabashed love for West Coast rock, while also unleashing a fine burst of fiddle when needed. SJ Mortimer is a powerful vocal presence, infusing the band’s recordings with the essence of live performances and effortlessly navigating tonal shifts between the frantic ‘Feels Like Letting Go’ and the more stately ‘Edge Of The Sun’. While an extensive bingo card of references could be drawn, they’re all briefly worn as they weave them into something distinctly their own. ‘Halfway Tonight’ strikes the right balance between saccharine AM radio polish, with Callum Morgan’s earnest vocals. Familiar yet compelling, when they shine, they truly shine. The soundstage can feel a bit congested around the mid-range on the relatively quiet Press On-manufactured disc, but it's certainly worth experiencing this infectious record.

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      Manchester's new wave band Dislocation Dance has been actively making music for nearly fifty years and has recently released their sixth studio album following a seven-year hiatus. ‘Road To Happiness’ is a soulful collection appealing to fans of Chic, Jens Lekman, and Saint Etienne. If those artists don't resonate with you, there may not be much I can do. A seamless funk permeates these ten tracks, as Ian Runacres, the sole remaining original member, blends perfectly with Sam Heywood throughout the record. Songs like ‘We All Need Love’, ‘I Just Need A Friend’, and ‘Sugar Coated’ deliver exactly what one would anticipate from their titles, and I can nearly forgive the choice to label one track ‘What The Funk (Theme)’. As usual, Marina Records has mastered at Calyx to create a vibrant soundstage with ample width and a nuanced mid-range, pressed onto a near-silent Optimal disc

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