Recently Played: A Column on Vinyl Records #63

      After the various excitements of RSD led to different schedules for the April edition, you'll find a rather frenzied summary of the six weeks that followed Vinyl Christmas below. This means there are more Blue Notes, Original Jazz Classics, and Mr Bongo highlights than you could ever want. Additionally, the stack of new releases is joyfully varied and filled with splendor, while some reissues have been long overdue. Remember, those indie shops that satisfied your limited edition desires last month need our support year-round. However, prices aren't decreasing, so it's essential to think carefully about purchases. Allow this column to help you decide where to spend your money in support of these shops.

      Freshly Pressed:

      With every new album by Gareth Bonello’s The Gentle Good, it immediately takes precedence on the turntable. ‘Elan’ is his sixth album, a product of a year-long residency in the mountains, presented in a beautiful gatefold sleeve featuring vintage artwork of the Vale of Nantgwllt, where the river meets the Claerwen. Themes of landscapes and identity are woven through the songs, which are written in both English and Welsh. ‘As I Was In Springtime (Slight Return)’ is a sparkling indie-pop hit sure to delight fans of Gorky’s Zygotic Mynci, while ‘Desert Of Wales’ is an impressive collaboration with the Rajasthani folk trio SAZ. The instrumental tracks are equally enchanting, particularly the side four opener ‘Fleet,’ which has a beautifully haunting quality. Pressed on eco-mix vinyl and made at Vinyl De Paris, these discs are nearly silent, with only a slight hint of non-fill on one sampled copy. Sion Orgon’s mastering is outstanding, and the entire album fills the room with a substantial volume. Highly recommended.

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      Composer Mark Springer has teamed up with Neil Tennant and the Sacconi String Quartet for a new project, ‘Sleep Of Reason’, inspired by the etchings of Spanish artist Francisco Goya. Updating the themes depicting monsters from the original works, Springer assigned Tennant to handle the lyrics and vocals for the entirety of the first section, which occupies side one of four. Tennant’s distinct voice shines, with opener ‘Phantoms And Monsters’ perfectly showcasing the blend of styles and the success of their collaboration. Highpoint ‘My Friend The Monster’ follows later on the same side, illustrating Tennant’s trademark nuance in tone and storytelling. The string arrangements are innovative and unexpected, while the solo piano piece on the second LP, ‘Flight’, captivates with its twenty-minute length. Mastered precisely by Gabriel Séverin, this album is vibrant and open, though the GZ pressing could benefit from being a touch quieter in certain spots.

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      For those needing a pick-me-up, ‘Choses Sauvages III’ by Chose Sauvages might do the trick. This French-Canadian band, brimming with rhythm, has developed a disco-post-punk sound that flows from the speakers. Tracks like ‘Fixe’ and ‘Faux Départ’ pulsate in distinct ways, yet share a frenetic energy that keeps the listener engaged. Even the slower moments like ‘Chaos Initial’ reveal intricate textures, enhanced by Lysandre Ménard’s dreamy vocals. Philip Gosselin’s mastering skillfully manages the powerful yet driving bass, and the black vinyl pressed at Le Vinylist in Quebec City plays nearly silently throughout.

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      Few bands evoke the essence of the original Fopp record shops like Turin Brakes. When I think of them, I envision their first two albums lined up in the Nottingham store, taking me back to an era of Acoustic compilations with floral sleeves and £3 CDs. However, time marches on, and they have returned with their tenth album, ‘Spacehopper’. The cover art may resemble a desperate AI attempt to prove it is harmless, but the music remains faithful to their style. Opener ‘The Message’ could have been sourced from those golden days, while the lovely ‘Lullaby’ lives up to its name. ‘Pays To Be Paranoid’ is oddly reminiscent of Starsailor, but ultimately, this record will satisfy fans of Turin Brakes. Co-produced by Guy Massey, who has delivered an impressively open mastering that highlights the rhythm section’s acoustic presence, it appears on a relatively quiet blue disc pressed in Poland at Takt. The cut is a bit subdued, requiring a slight volume increase.

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      Soulful Australians Surprise Chef have just released their fourth album, ‘Superb’, which exceeds expectations. Though the cartoon cover design may raise eyebrows, the music in the grooves is fantastic. These rich, funky instrumental tracks quickly elevate from potential background music to being the main highlight. The infectious percussion and squelchy bass keep the heads nodding. The soundstage is superb, and the piano particularly stands out for its resonance and decay. ‘Dreamer’s Disease’ serves as a great introduction

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