Time for the end of summer round up then. The nights are drawing in and about 50% of recent releases have a slight warp after being moved around warehouses during one of the five heatwaves. That aside, what’s worth picking up, you ask? Allow me.
Despite looking like something from the late Sixties that would be on the wall at a record fair for £3000, ‘This Bed Was Made For Me’ is the just-released debut album by . If beautifully arranged and orchestrated folk music is your thing then there is much to love, along with some stylistic lurches that keep the listener on their toes. Opener ‘The Ground Here’ shimmers gorgeously, some trembling piano upping the intensity as the acoustic layers build. ‘Window In The Winter’ and ‘Fennel Knows’ evoke thoughts of the magic of Jessica Pratt and having Haley Heynderickx as co-producer with Sahil Ansari is another big tick for this album. Your columnist is already hugely fond and it continues to grow on me. One to watch out for and be sure to sample it – you may well find a new favourite here. It’s a pretty quiet GZ pressing with delicate mastering from Adam Gonsalves.
’s ninth studio album is not messing around. ‘Half-Told Tales’ sounds gigantic from the off and the whole thing feels irrepressibly urgent, hopping around across the different shades and tones that have peppered their back catalogue to great effect. The electro-disco strands burst from the speakers, ‘Fighting For You’ a particularly splendid example of the dark grooves that drive this record forward. ‘You You You’ is utterly emphatic, both musically and lyrically, while ‘Gape’ is a vintage Moffatt monologue. The mastering, via Sam John at Precise, is excellent, ensuring a magnetically three-dimensional rendering of the all-important vocals. The bottom end is delivered with a level of detail and nuance that is perfect for vinyl. The standard black is a near-silent pressing via Seabass in Scotland and your columnist cannot recommend it enough.
Ah, the live album. A souvenir, a snapshot, a stopgap? Well, ’s ‘Live!’ probably ticks all three of those boxes, coming as it did alongside their announcement that they would be returning to their hiatus. A 2LP set, with an excellent photo on its cover, this was recorded at the O2 in London in June 2025 and captures the band with plenty of pep in their collective step. Intriguingly, where Jarvis’ voice can sometimes sound a little brittle in concert broadcasts, his vocals here appear to be very polished indeed. Another decision that may split opinion is the prominence of the crowd noise in the mix. Just Played is actually quite fond of it as it goes some way to capturing the connection between artist and audience, especially when they’re so clearly losing their minds regularly. ‘Disco 2000’ is especially explosive, but recent singles ‘Spike Island’ and ‘Got To Have Love’ both soar in their stage incarnations. Matt Colton has provided a decent vinyl cut that juggles the many moving parts and manages to preserve some headroom and nuance in the mid-range, all presented on a near silent Optimal pressing.
Music industry veteran Russell has switched from being the figure behind the scenes to releasing his debut album, ‘Mystic Powers’, and trading under his surname only. Written during lockdown and featuring an array of seasoned performers in the band, it’s a record full of soulful, jangly art-rock. You can hear the debt to Gene Clark and Colin Blunstone and a general AM Radio polish, fabulous harmonies very much the order of the day. ‘Forsaken’ is a shimmering, wistful charmer and ‘Your Arms Wrapped Around Me’ sounds almost exactly as you might expect it to. Warby’s voice is warm, with a slightly reedy ache and feels beamed in from the mid-Eighties. It’s a record that bursts with the sense of an artist finally getting their chance and taking it. Robin Sutherland has done a decent job of the mastering, ensuring a vivid vocal presence and detail across the soundstage. It’s a fairly quiet GZ pressing housed in a striking sleeve that might be enough to grab people’s attention in the racks. And those for whom it does will be pleasantly surprised. Be sure to sample this one to get a sense of a hugely endearing project.
Chrysalis have served up the 3LP set ‘ At The BBC: The Complete Recordings 1979 – 1981’’. A freshly assembled thirty-track collection of radio and TV sessions, along with a 1979 concert broadcast, this joyous ride captures two formations of the Two-Tone stars. Side one features a Peel session from October 79 that is lean but sharp, ‘Street Feeling’ an especially absorbing moment. From there, we’re off to BBC Midlands’ Look! Hear!, The Old Grey Whistle Test and a session for Mike Read, who would subsequently press pause on their radio success after taking against ‘Celebrate The Bullet’, a fiery performance of which can be found towards the end of this collection. The stories behind the songs, including Read’s boycott, are included in a stellar sleevenote from the wonderful Simon Price and Phil Kinrade has done some fine work balancing up the sonics on these varied sources. Some of the TV outings are rather more boxed in and fuzzy, as you might expect, but they’re still worth a listen; the version of ‘Three Minute Hero’ that opens side two is a blast. Six sides of GZ-pressed vinyl play pretty quietly, aided by the decision to opt for poly-lined inners for this set, each disc having a printed outer which then sits in a rigid slipcase.
While the digital release of ’s ‘More Time’ emerged in spring, it – rather fittingly – took a little longer to get a physical outing. An Indonesian trio described as “alt-pop”, this lot are enjoyably all over the place, sometimes switching genre mid-song, as with ‘Exactly What I Needed’, which seems to nip back and forth between the late Noughties and the dawn of the Nineties rather effortlessly. ‘Hooked’ lives up to its title and is another that sounds like its got a whole jukebox in its DNA. There’s a hint of MGMT in here, vintage disco, acid house and plenty more besides, and it is great fun. Christian Wright at Abbey Road has delivered a robust mastering that keeps the bottom end in check and provides a little space for the highs. The black/green marble vinyl, pressed at Holiday Records in New Zealand, had a little surface noise here and there but the glorious racket overpowers it in the main.
Now settled into a dependable new-album-every-four-years cycle, have returned with ‘This Mirror Weighs A Ton’. Could this reference the size of expectation when looking back over a career thanks to anniversary reissues of finer albums? It would make sense given the entirely acceptable, quite pleasant nature of this one. There’s a lot of mid-paced chug here, with skittering drums and angular guitar motifs; “See Out Loud” sounds striking with the extra clarity of this format. Closer ‘Sudden’ repeats the line “This is not sudden to me,” as frontman Paul Banks reflects on the wearying inevitability of aspects of life and this does feel like an album that sounds like the slog of middle age as opposed to fidgety, irrepressible energy of their earlier music.
Joe Nino-Hernes has done an excellent job of the vinyl, keeping the soundstage broad, detailed and open at the top end. The Takt pressing is pretty quiet throughout too.
Technically a new release, but lagging behind other versions, is the vinyl edition of ’s ‘Back To My Roots’. Intended as her parting shot and crafted over a number of years, it features production from her son Marcus and her daughter Cassandra runs the label through which it initially emerged. Unsurprisingly, the voice that prompted a career resurgence thanks to the sublime Honest Jons compilation in 2004 isn’t quite what it once was, but there’s no lack of passion across the dozen songs featuring on this LP and 7” package. A glorious take on Aaron Frazer’s ‘My God Has A Telephone’ features the one and only William Bell as a guest vocalist and her version of The Stones’ ‘Shine A Light’ is a highlight of side A. The soundstage is pretty decent, with a reasonable amount of nuance despite operating within the confines of the two speakers. It’s a near silent GZ pressing and the bonus single is a neat touch.
Another double batch this time around, covering August and September. First up, in a glorious tip-on gatefold with studio photography to supplement its tremendous cover, is ’s ‘Vertigo’. Though first released in 1980, the bulk of the record was recorded in 1963 and side one closer ‘Formidable’ is an even earlier piece from 1959. As such, the personnel varies, although most of the material features Butch Warren on bass, Tony Williams on drums, trumpet via Donald Byrd and the inimitable piano work of Herbie Hancock. And they are tight. Opener ‘Marney’ is, to quote Michael Cuscuna’s sleevenotes, “a complex steeplechase” where “everyone glides through the hurdles beautifully.” The title track sets fire to the start of side two and ‘Yams’ is some more languid Hancock material that serves as a perfect closer. Unsurprisingly, Kevin Gray has delivered an impeccable, gigantic cut for this silent pressing via RTI.
Just go and buy ’s ‘Bossa Nova Soul Samba’. Honestly, it’s what you’d expect from the title, but better. It purrs from the speakers, every one of the musicians involved conjured before you in three-dimensional clarity. Wendell Marshall’s bass moves the air, Willie Bobo’s drumming is extraordinarily widescreen, Gavin Masseaux’s work on the chekere absolutely sparkles and Kenny Burrell’s guitar playing here is one of my new favourite musical comfort foods. And that’s without mentioning the rich textures of Quebec’s tenor sax. Just listen to ‘Lloro Tu Despedida’ and ‘Liebestraum’ and prepare to be wowed. If this paragraph hasn’t sold this to you, the fault is entirely mine and I can only insist that you proceed regardless. Hypnotic, bewitching and essential.
The first thing to say about September’s first Tone Poet, ’ outrageously cryptically titled ‘Sonny Rollins, Vol. 2’, is that the line-up is outrageous. Jay Jay Johnson is on trombone, there’s bass from Paul Chambers, none other than Art Blakey on the drums and the combined piano playing of Horace Silver and Thelonious Monk. This 1957 mono recording is a triumph from the off, Blakey in scorching form on ‘Why Don’t I’, while ‘Misterioso’ is the arguable highlight with Silver and Monk both featuring on the latter’s composition. As with the other release this month, it’s a near-silent RTI offering with a shimmeringly vivid cut by Kevin Gray.
The final Tone Poet for now is ’ ‘Dimensions & Extensions’, recorded in 1967 but not released until the mid-Eighties. The ensemble is quite something, with James Spaulding on alto sax and flute, Donald Byrd on trumpet, trombone courtesy of Julian Priester, bass from Cecil McBee and Steve Ellington at the drumkit. Opener ‘Precis’ is a frenetic statement of intent, Ellington offering a strident groove for Spaulding and Byrd to weave around. ‘Involution’ is an expansive flute-off that rewards repeat plays and the whole thing wraps up in joyous, swinging fashion with the relatively brief ‘Helix’. The sonics are superb, spread far and wide across the soundstage.
The first of August’s titles for the Classics series was ‘Softly As A Summer Breeze’ by The Incredible with & from 1965. That core trilogy take care of two thirds of the record, Smith joined instead by Eddie McFadden on guitar and Donald Bailey on drums for the final two tracks. Plenty of this artist’s titles have been given the all-analogue Kevin Gray treatment in recent years and he’s certainly one of the more accessible artists for those dabbling in Blue Note’s vast catalogue. The Thelonious Monk piece ‘Hackensack’ is an excellent showcase for Smith’s inexhaustible, intuitive and truly compelling playing, Jones seeming to pop up every so often just to force the band leader to take a breath. This is a fabulous sounding Optimal pressing, with real heft to the presentation of the organ and wonderfully precise percussive detail.
Next up is ’s 1967 release ‘Street Of Dreams’ on which the guitarist is joined by an immaculate trio: Elvin Jones is in spritely form on the drums, Larry Young delivers magnificent, fluid organ parts and column favourite Bobby Hutcherson is present on the vibes. That alone is enough to sell it, right? And the cover is excellent too. Thankfully, expectations are met when the needle travels in the groove, Gray’s all-analogue cut sounding utterly alive and reaching some distance into the room. Young’s work on ‘I Wish You Love’ is a dream and the nine-minute title track features all four musicians in the sweet spot, the respective solos demonstrating the glee in the studio. It’s another near-silent Optimal pressing.
You could be forgiven for never having heard of ’ 1969 title ‘Soul Symphony’, so it might be faintly stretching the parameters of the term Classic, although if we’re using it to discuss the quality of the music then all is well. Side one is the twenty-six-minute title track and it doesn’t disappoint. The leader, Gene Harris, drives things neatly at the piano while the ensemble do their thing and orchestral soul with a true sense of swing is very much the order of the day. Side two is four shorter pieces, the briefest of which is the superbly titled ‘Popsicle Pimp’. A relatively easy listen, the sleevenote from Todd Everett paints a portrait of a labour of love and Kevin Gray treats the tapes with his usual care and attention. Near silent Optimal vinyl again.
It’s another less obvious choice to round out this batch, but be sure to listen to ’s ‘Black Rhythm Happening’ from 1969. His second of two for the label, the whole thing is composed, arranged and conducted by the trumpeter, with the assistance of the Noble Gale Singers and an impressive ensemble including Russell Lyle on tenor sax and flute, Judah Samuel and Henry Pearson on bass and fantastically unrestrained drumming from Elvin Jones. John Robinson adds African drums and there’s alto sax from James Lyons. Roland Alexander adds soprano sax plus more flute and this seismic gathering makes quite the sound. Part spiritual, part free and absolutely full of soul, this is jazz that knows few bounds. The mastering is glorious, ensuring the many voices have an enveloping, deeply human quality. Sadly, this one had a little light noise on the copy Just Played sampled.
It continues to be a joy witnessing the catalogue coming to vinyl after all this time. Next up for a not-quite twentieth anniversary dust off is ‘Tangled Up’. And what an album this is, with ‘Call The Shots’ to open, ‘Sexy! No No No…’ and ‘Can’t Speak French’ as the other marvellous singles and corkers like ‘Close To Love’, ‘Girls Overboard’ and ‘Control Of The Knife’ sprinkled in between. Production duo Xenomania are untouchable in this form and these songs strut effortlessly, so many minute details to zoom in on when paying close attention. As with the previous titles, the mastering for this format has been well handled, ensuring plenty of width and sufficient precision on the low end. Vocal presentation is clear and for a pop album from the era of the loudness wars to sound this enjoyable is deeply satisfying. The artwork has been neatly reworked for the inner sleeve and the outer has foil embossing for the band’s name. Your correspondent sampled the purple pressing – a picture disc is also available – and it played pretty quietly, with only a few little clicks and pops here and there. Manufacturing comes courtesy of GZ.
Warner’s commitment to reissuing almost anything ever released shows no sign of flagging with a rather aesthetically pleasing pair of titles. ‘Best Of’ and ‘The Rest Of’, with their corresponding blue and pink versions of the distinctive artwork, pull together singles and remixes respectively, covering the period up to the mid-Nineties. The latter has been expanded as well as receiving the remastering treatment afforded to both. While they’re never cheap, it’s fair to say that the band’s catalogue vinyl releases are always well done, with Frank Arkwright a trusted pair of audio hands for their work.
Shep Pettibone’s ‘True Faith’ is great and ‘Ruined In A Day’ is very of the time in its K-Klass retooling. Armand Van Helden’s take on ‘Bizarre Love Triangle’ is interesting and, of course, even the version on ‘The Best Of’ is the 1994 remix. Similarly, ‘Blue Monday 88’ is included along with ‘True Faith 94’. As such, it’s far from definitive, but those who wanted ‘Best Of’ on vinyl will get an excellent sounding, faithfully produced reissue. ‘The Rest Of’ has, inevitably, sparked discussion about which mixes should or shouldn’t have been included in the revised tracklist but it hangs together well and Arkwright’s mastering is substantial without losing detail. Just Played sampled standard black editions of both, although blue and pink variants exist, and these Optimal pressings were near silent across all ten sides in total.
The half-speed mastering of ’s catalogue has reached ‘Coming Up’. Given this year marks its thirtieth anniversary, Demon Records have gone to town with a 5CD box set, Blu-ray audio edition and reissues of the singles as coloured 12”s. For this outing, the main album has had a fresh remastering, as well as a new mix by Steven Wilson that is included as part of both the box and the Blu-ray. Phil Kinrade has taken care of the sonics for the original mix and it’s definitely the best reissue of this record since the first pressing. Obviously, a 1996 release from a band already favouring quite shrill production can’t fully lose that, but there’s clearly a solid mid-range here, along with a moderately nimble bottom end. ‘She’, ‘Filmstar’ and ‘Beautfiul Ones’ all demonstrate the improvement on other recent editions. It’s nowhere close to the scuzzy but open sound of the original, where the strings can really fly, but its intentions are good. As ever with Demon, it’s a GZ pressing and this one comes housed in a shiny, printed inner sleeve. Unfortunately, your columnist had a fair bit of low-level surface noise during the quieter moments in tracks like ‘By The Sea’ and ‘Saturday Night’. It’s not an issue elsewhere, but it’s the one factor that mars the best half-speed to date.
The first single to get the 12” treatment, ‘Trash’, is on lilac wax, again pressed at GZ. No mastering info is provided for this one and it sounds fine at 45rpm, vibrant enough but confined between the speakers. The sleeve art was easily adaptable for the format and the translucent colour is quite pleasant. ‘Another No One’ is one of the bonus tracks here, as well as being in the box set and on the Blu-ray, and it has always struck me as something of an overlooked beauty. Playback is fairly quiet for this one, but £20+ per single could make it a costly collection to complete. By far the best value, and offering the most complete experience, is the superlative 5CD variant that should satisfy those wanting a fresh wallow in this era.
Not before time, Warner have restored all three studio albums by to the nation’s record shops and I’m not sure anyone needs me to sell them on what sits in the grooves. 1990’s ‘Reading, Writing and Arithmetic’, 1992’s ‘Blind’ and 1997’s ‘Static & Silence’ are all excellent records, even if the debut tends to draw most of the attention. While it does contain ‘Here’s Where The Story Ends’, its follow up possesses ‘Goodbye’ and their final set opens with the undeniable masterpiece ‘Summertime’. Their music can sound a little thin in previous versions, but Matt Colton at Metropolis was tasked with this latest round and your columnist is very happy to confirm that his reputation for excellent work is further enhanced by these Record Industry-pressed discs. That pairing of pressing plant and vinyl cutter is always going to be a reason for a joy and these LPs have been produced with care, ensuring nuanced, open soundstages that need a little volume to truly come alive. All three played without surface noise and the cover art has been replicated accurately and precisely. Very reasonably priced too.
Slowdive having made and sustained a successful return, now feels like an excellent time for a full catalogue reissue for the associated work of , formed by the founding members of the shoegaze figureheads. All five of the albums they released on 4AD over twelve years from 1995 onwards have been remastered at Abbey Road and have never sounded better. Before we go any further, I should make it clear that all listening was done via standard black retail copies, all of which are Optimal pressed editions. A box set edition collected the quintet in one place but was manufactured at GZ and, as a consequence, some editions of these titles have also been made there. Stickers should make this clear on the backs of the shrinkwrap, should you be particular about your purchase. Those made at the former play near-silently in the main across all ten sides, whereas online reviews suggest that those originating from the latter are a little more hit and miss. I can’t say for certain, without hearing, but I know which option I’d go for.
It’s hard to pick favourites, but it was lovely to realise I have at least as much warmth for 2000’s ‘Excuses For Travellers’ as prior favourite 2003’s ‘Spoon And Rafter’. These are quiet, textured, seductive albums that take time to truly inveigle their way into your routine. But, once they do, they offer an aural comfort that isn’t all that readily available these days. The excellent remastering helps with this, the Abbey Road cuts ensuring ‘In Love With A View’, ‘Billoddity’ and ‘Some Kinda Angel’ have a three-dimensional representation that gently pulls your focus to the centre of the sound and then holds you in the moment. Debut ‘Ask Me Tomorrow’ is a woozy and unassumingly beautiful album that only grows in stature in this company, marking the start of something special. Check copies carefully for the specifics but, once that’s sorted, these will not disappoint.
The Original Jazz Classics series is never less than excellent but quite a momentous pair of titles emerged in recent weeks. As ever, they are Kevin Gray cuts pressed at RTI, ensuring superlative sonics. The two artists featured are being celebrated for their centenaries and the first comes in the form of ‘Cookin’ with ’. One of the albums drawn from the mighty 1956 sessions celebrated in a recent box set that was covered here, it is considered a classic for a reason. Firstly, Miles is joined by John Coltrane on tenor sax, Paul Chambers on bass, the distinctive drumming of Philly Joe Jones and Red Garland at the piano. Knowing what you’re going to get doesn’t make it any less entertaining when Davis lets loose. The opener, ‘My Funny Valentine’, is a fine demonstration of Gray’s methods, even if the tape is of an age, while ‘Blues By Five’ is a neat example of how mono can still totally occupy a soundstage.
Similarly magnificent – apologies if this ends up being an especially expensive column to read – is the new edition of the aforementioned ’s 1957 Prestige title ‘Coltrane’. The ensemble includes Johnnie Splawn on trumpet, Sahib Shihab’s baritone sax, Paul Chambers on bass again, the drumming of Albert ‘Tootie’ Heath and a shared role at the piano: a side each for Red Garland and Mal Waldron. This mono recording sounds satisfyingly substantial, the nimble bottom end especially potent on opener ‘Bakai’ and the galloping ‘Straight Street’. Expect the odd little tape dropout, but the overall soundstage is gigantic. This series is always worth the money, but these two would make a fine jumping on point for those who’ve been tempted in the past.
The next Jazz Dispensary Top Shelf title is ’s ‘Song Of Songs’ from 1973. Despite a hype sticker proclaiming the involvement of Kevin Gray, the deadwax would suggest it was cut by Bernie Grundman. Regardless, it’s still all-analogue, pressed at Fidelity and housed in a tip-on sleeve. This is one of the more experimental titles in this series, in part avant-garde, spiritual and modal. In short, don’t expect to just chuck it on and nod along merrily. The title track roams all over the place, the assembled musicians clearly leaning into each other’s instincts as appropriate. Trumpeter Shaw is joined by Emanuel Boyd on flute and tenor sax, Ramon Morris and Bennie Maupin also on tenor, George Cables at the piano, Henry Franklin on bass and Woodrow Theus II, who takes care of the drums. They’re an impressive bunch and this cut is pretty forthright in its presentation of them, with a little more emphasis than this column is accustomed to when things are cut by Gray. That said, Grundman has still delivered a sizeable soundstage and, if the music appeals, this is a very fine way to hear it.
Three years after a number of other reissues, Chrysalis have turned their attention to 1970’s ‘Cricklewood Green’, considered by many to be their best. Freshly mastered and cut by Phil Kinrade at AIR, it sounds muscular and vibrant, pushing out from the speakers to create a wide soundstage and there’s plenty of space in the top end too. Listening to the manic acoustic strumming during ‘Working On The Road’ is a perfect demonstration of how it’s possible to keep delicious detail while also preserving the organic rumble and clatter of this lot at full pelt. ’50,000 Miles Beneath My Brain’ goes on and on but doesn’t outstay its welcome, especially in this incarnation. There’s a new sleevenote from Nigel Williamson, unseen photographs and an entire bonus disc worth of unreleased live material from the Fillmore East in the same year as the album was released. The discs have been pressed at GZ and have a little light surface noise audible in the occasional moments when the band are vaguely subdued.
Domino’s stunning catalogue box sets for The Go-Betweens are all long gone now and those wishing to enjoy their work will need to look elsewhere for new vinyl pressings. It just so happens that Beggars Banquet are only too happy to oblige when it comes to the trio of albums that they released originally. That means ‘Liberty Belle And The Black Diamond Express’, ‘Tallulah’ and ’16 Lovers Lane’ all popping up again. Original artwork is replicated, with inner sleeve designs now as a paper insert and the records themselves have been pressed at Optimal. These are new cuts but they use the remasters created for those opulent Domino boxes. As a result, the whole lot sound decent to these ears. Expect some brightness in the top end to preserve the intended sound of the time, but rest assured that the mids have been presented with decent detail and there is a solid, substantial bottom end.
A perfect example of this is the closer of side one of ‘Tallulah’, ‘Cut It Out’, which could suffer from proximity to the centre label but is actually huge in its presentation. The more acoustic leanings of ’16 Lovers Lane’ are especially rich, benefiting from a broad soundstage and vivid vocal presentation. The ’Fountains Of Youth (Live at the Town and Country Club)’ live 2LP set released in the second of the boxes is also given a reissue, now as a standalone title, with the same mastering and pressing credentials as the three studio albums. It was recorded during the ‘Tallulah’ era but with a particular focus on capturing a one-off show with a full recording setup. They traverse their career with predictably fine results.
At The Front Of The Racks:
This column has always been fond of , a collective mixing funk, lovers rock and roots reggae. Helmed by two legendary reggae producers, Nick Manasseh and David Hill, the project features an evolving array of guests and for their second studio outing, ‘Holding It Down’, we’re talking Johnny Clarke, Earl Sixteen, Vin Gordon and Susan Cadogan, as well as modern figures such as Kokoroko’s Ms. Maurice, Anoushka Nanguy and Ash Walker. The whole thing is an absolute joy, starting with the artwork which, once again, features a photograph from Charlie Phillips taken in 1966 during the first ever outdoor Notting Hill carnival. The attention to detail is there throughout.
Nick Robbins has delivered an excellent master and Frank Merritt at The Carvey has been tasked with providing the lacquer for this GZ pressing. Housed in a poly-lined inner, playback is near silent and the music is consistently special. ‘The Good Book’ is an opener that can sell the record on its own, while Earl Sixteen’s turn on ‘Serious Time’ is a head-nodding climax to side one. The instrumental interplay on ‘Stable Way’ moves up and out into the room and the title track closes the album with a similarly all-encompassing presence. ‘A Thousand Years’, featuring Sandra Cross, is one of the most compelling tunes I’ve heard all year and it absolutely floods from the speakers, the percussive detail proving to be especially magical. This one is an absolute must-buy. You’ll not regret it.
All titles reviewed were cleaned before playback using the ultrasonic record cleaning machine, Degritter. A full review of its capabilities can be found in a previous column and you can find local dealers at www.degritter.com
Words: (For more vinyl reviews and turntable shots, follow on Bluesky)