This one sounded implausible. Frida Kahlo, the great (and fashionable – collected by the likes of Madonna) Mexican painter interpreted by Indian classical music at the Elgar Room in the Royal Albert Hall. It was, however, entrancing, made a curious sense, and was a different way of immersing yourself both in the music and paintings.

Oghneya opens with the extraordinary “Matar Al Sabah.” Jazzy, with an overt Brazilian feel it gently swings and swoons. Wordless backing vocals and pulsing but gentle strings add atmosphere. Milton Nascimento comes to mind but the intimate lead voice also feels French, a little bit Julien Clerc. It’s instantly impactful.

Figuratively, “Tselane” is Blk Jks’s “Stairway to Heaven.” Both songs begin quietly and move through passages of turbulence suggesting an impending tempest. Each has a command of dynamics which pulls the listener in, generating anticipation for what comes next. On stage, “Tselane” is introduced as a “lullaby.”

Musically – beyond them being a form of rock – little obviously connects “Tselane” and Led Zeppelin’s “Stairway to Heaven” but the association is there: it’s about the contrasts, the subtle union of drama and tranquillity.

Summer has arrived outside and sunny sounds are blasting from the speakers at theartsdesk on Vinyl. But not just sunny sounds, to be truthful, also sounds that cover most of the human emotional range, all from plastic discs in varying colours. Check in below for over 8000 words on music, from Afro-electro to Cornish rock to tango to genres beyond naming. Dive in!

VINYL OF THE MONTH

Shelf Lives Yes, Offence (Sorry Mom)

In these meta times when everything – EVERYTHING! – is ironic, a smirk to be replayed forever on a screen, the last thing we expect is a hippy, a proper real-life hippy, preaching oneness and love. Even yoga sorts these days mostly go on about their own “wellness”, rather than the cosmic inference of it all. Nick Mulvey’s previous albums were lightly marinaded in Baba Ram Dass and ayahuasca revelation but, with his third solo album, New Mythology, he’s gone full mystic.

Crispy Moon is a musical kaleidoscope encompassing free-jazz skronk, Japanese folk melodies, Krautrock insistence, echoes of Recurring-era Spacemen 3, South African percussion styles and space rock. One is overlain onto another, or there are sections where one approach dominates before diving into another.

The album title ‘Where’s the One?’ is the question that often cropped up during the album’s creation. That’s to say, ‘the One’ is the opening beat of each bar that the western rock musicians often had trouble locating in the rich, complex brew of distorted thumb pianos, duelling guitars and intricately overlaid percussion generated by the Congolese musicians. And in some instances, the mystery was never solved.

What’s in the groove isn’t necessarily the end of the story. Sound is fixed into a record when it’s pressed. Get it revolving on a turntable, dump the needle onto it and what’s heard is what’s intended to be heard. It’s fixed. Nonetheless, DJs realised a record can be part of the route to something else, something which becomes their creation.

Expansive, free-form, handmade and improvised, the extravagantly-titled The Liquified Throne of Simplicity is the fourth album from this freewheeling Slovenian trio of multi-instrumentalists.

As the year starts to rev up, theartsdesk on Vinyl returns with over 7000 words on new music on plastic, a smörgåsbord of the kind you will find nowhere else. This month we also have a competition for the dance music lovers among you, a chance to win a £50 gift card for the new app Recycle Vinyl (online stock of 10,000 records + 25,000 in their warehouse + 500 more added every week).