My 2025 Records

Ever since last year, I’ve tried to be meticulous in keeping track of the records I’ve bought, played and liked. Or not. A glance at the 2025 report says to me that I added 134 new titles to the inventory, of which 15 were new releases. Some of these 15 were re-issues of older material, e.g., New Model Army’s The Love of Hopeless Causes, or Lianne La Havas’ Is Your Love Big Enough?, or The Durutti Column’s debut album, The Return of the Durutti Column.

I must say that the 2025 new records have not swept me off my feet. In fact, I’ve been thinking if that’s a matter of becoming older and grumpier: I do find the reissues sections in Record Collector or Uncut more interesting. The mere fact that there are acts that call themselves Bob Vylan is telling enough.

However, I have my 2025 highlights and disappointments and in-betweens.

Solace of the Mind by Amina Claudine Myers is beautiful. Red Hook Records is a label worth collecting, actually. There is a concept and a logic and a style there – even though my exposure to their output has been limited for reasons I won’t go into but they have nothing to do with the label.

Another heavenly record is After the Last Sky by Anouar Brahem, Anja Lechner, Django Bates and Dave Holland. It takes my breath away. And, in the light of Jack DeJohnette’s recent passing, I always remember how fortunate I was to see Anouar Brahem perform live with the same band except that Mr DeJohnette was playing drums in lieu of Anja Lechner’s viola.

Lera Lynn and Blixa Bargeld had a self-released EP each and I loved both of them. Lera Lynn’s original material is art with the confidence of a big artiste and Blixa’s huge personality is enough to not feel awkward in David Bowie’s shoes. I found it genius that Mr Bargeld chose the chamber format of a duo with a pianist to deliver 4 covers of not necessarily obvious material – and Heroes never sounded with a better German. Yet, there are two unmistakable vocal solos that only Blixa is capable of. Actually, I will do a little search to see if anyone else covered Subterraneans (which album is it off, would you know without looking it up :)?)

Weather Station did not cut it for me. A lot of words, a lot of notes not amounting to substance. The previous records were remarkable, this one hasn’t grown on me, and I hope that “yet” is missing in this phrase.

Mogwai’s Bad Fire was one of the in-betweens – I might re-christen it into Purgatory. Allbarone by Baxter Dury was exactly in the way Baxter Dury is for me: a lot of appeal and interest but only before he strikes a pose and takes his jacket off his shoulders to put it back on to drop it off again – and again, finding nothing better to do while the ladies in his band sing the same lines for about fifteen times during a 2 minute 30 seconds piece.

I will mention that Boris Grebenschikov’s Square Root From the Sun has a majestic version of Angel orchestrated by Tony Visconti and a piece of absolute beauty in 5 am. But this beauty is only for the exclusive audience of Russian speakers on the fringes of the war-mongering nation that is rushing towards the open gates of the newly built concentration camp under construction. Amongst the modest benefits this small audience can be happy with is the presence of Tony Visconti, of course – and who wouldn’t be happy about it.

I am.