The SACD (BODTG) and LP (Record Industry) each have their own unique characteristics, but neither outshines the other, which is quite an achievement. This release is sure to delight audiophile connoisseurs, as the sound positively captivates the discerning ear.
For his new album, Jeremy Olivier collaborated with keyboardist Mike Del Ferro, resulting in a collection of ten tracks that made the final cut. It took only two days in the studio to record everything, which is relatively short. This direct recording approach perfectly complements Jeremy's understated musical style, where his voice is as musical as his guitar. Del Ferro’s skilled hands on the keyboard and piano provide a subtle and refined backdrop.
The recording, mixing, and mastering were done using Josephson microphones, Schnerzinger and AudioQuest cables, tweaks, and power filters, and a Merging NADAC converter. The recording was mastered analog on an optimized Studer A80 tape recorder, and the monitors in the recording studio (Zellaton and MBL) and the reference turntable (Döhmann) for the vinyl version were of top-notch quality.
On …Where The Light Gets In[/I], Olivier, as mentioned, alternates between covers and his own compositions, with the latter being more influenced by his African roots. Despite this blend, the album remains balanced, and in fact, the variety enhances the flow necessary to keep a singer-songwriter album engaging. Just listen to tracks like "Fly Eagle Fly," followed by "Ntyilo," which is then succeeded by a refreshing, worldly version of The Police's hit "Message In A Bottle."
Jeremy's renditions of "Crazy Love" (Van Morrison) and Leonard Cohen's "Anthem" are truly impressive. The latter, in particular, seems ready for radio play. Personally, I find his vocal interpretation of "Over The Rainbow" (Arlen, Harburg) slightly less inspired, but overall, Jeremy successfully conveys emotion in his tracks.
Olivier's voice is pleasant, open, and subtly warm, which suits the intimate nature often associated with this genre. While he’s sometimes compared to Jason Mraz and Ed Sheeran, I believe he has a distinct sound that sets him apart. His guitar playing is equally pleasing, and his collaboration with Mike del Ferro feels natural and effortless. However, the album’s true highlight lies in its audiophile quality. Both the LP and hybrid SACD versions sound fantastic, with a slightly warm presentation, exquisite dynamic nuances, and a pleasing, organic foundation.
The high-end setup by the team behind the RAR label has undoubtedly contributed to this listening experience—it's pure enjoyment, no matter how you choose to listen. The SACD (BODTG) and LP (Record Industry) each have their own unique characteristics, but neither outshines the other, which is quite an achievement. This release is sure to delight audiophile connoisseurs, as the sound positively captivates the discerning ear.
