It's one thing to be indebted to a playwright, as Tom Stoppard and Harold Pinter have been at different times to Beckett, or Sondheim's latest musical is to Sartre. But Conor McPherson's The Brightening Air – the title itself is derived from Yeats – comes so fully steeped in Chekhov that you may wonder whether this portrait of rural Ireland in 1980s County Sligo hasn't bled into provincial Russia from nearly a century before, or vice-versa.

“Soul Scene,” by Echoes Limited, is built from elements of the James Brown sound. But it’s put together in such a way that the result is unfamiliar. The angular drum groove edges towards a 5/8 shuffle. The circularity of the guitar suggests Congolese rumba. Funk, but outside recognised templates.

Then there’s “Anoshereketa” by Oliver & The Black Spirits. The swirling township structure is recognisable but the drums and the nature of the guitar playing – clipped and spindly, respectively – give an edge. This music is hard to place aesthetically and geographically.

Sixes and Sevens is a surprise. A big one. Since leaving Siouxsie and the Banshees in September 1979, John McKay has largely been a mystery. On record, the only suggestion this influential guitarist had continued with music was the EP his post-Banshees band Zor Gabor issued in 1987. Otherwise – nothing.

Purporting to be a documentary about John Lennon in the 1970s, Borrowed Time is no such thing. Instead, we have a lot of fan boys stating the bleeding obvious and covering a much longer period of time. On the other hand, there are some really interesting and illuminating details here, so the film is an absolute must for fans.

Record Store Day 2025 is tomorrow (Saturday 12th April 2025)! At theartsdesk on Vinyl we’ve been sent a selection of exclusive RSD goodies. Check the reviews. Then check your local record shop! See you amongst it.

THEARTSDESK ON VINYL CHOICE CUT FOR RECORD STORE DAY APRIL 2025

Marianne Faithfull Burning Moonlight EP (Decca)

Mike Scott is The Waterboys. Launched by wide-eyed 1980s folk-rock, and “The Whole of the Moon”, he’s long since roamed into whatever stylistic gumbo he fancies. The latest album – the band’s 16^th – is a concept piece, a 25-track sonic biography of the late Hollywood maverick Dennis Hopper.

Tobe Hooper changed cinema with The Texas Chain Saw Massacre (1974) for pennies in rancid Southern heat, but came closest to a mainstream Hollywood career a decade later, following the hit Spielberg collaboration Poltergeist (1982) with his biggest budget from hack mavericks Cannon Films. He characteristically determined to “make it as wild as I can”.

Tobe Hooper’s The Texas Chain Saw Massacre (1974) was uniquely disturbing, with its monster Leatherface’s first primal eruption to hang a victim on a meat-hook rivalling Psycho’s murders for shock and fright. It was only as the bludgeoning effect faded on subsequent viewings that the film’s pitch-black comedy became clear.

Rehab people will tell you there are three stages to drug abuse: fun; fun with problems; problems. There’s also a fourth phase, where there aren't any problems, because you’re dead.

Donald Rodney’s most moving work is a photograph titled In the House of My Father, 1997 (main picture). Nestling in the palm of his hand is a fragile dwelling whose flimsy walls are held together by pins. This tiny model is made from pieces of the artist’s skin removed during one of the many operations he underwent during his short life; sadly he died the following year, aged only 37.