Lost Horizons - In Quiet Moments (2LP) - Half Speed Mastered Vinyl

Lost Horizons is the meeting point of two British indie lifers, Simon Raymonde of Cocteau Twins and Richie Thomas of Dif Juz, and their second album In Quiet Moments shows just how gracefully they’ve turned a rotating cast of voices into a true band identity. Issued on Bella Union in two instalments that wrapped on 26 February 2021, this 16 track set plays like a lovingly curated night of guest spots, each singer folded into the duo’s glassy guitars, deep bass and roomy drums without losing their own character.

The project’s approach still feels fresh. Raymonde and Thomas handle the beds of sound, then bring in vocalists who can steer a song’s mood in surprising directions. The single with Porridge Radio, One For Regret, is the clearest proof. Dana Margolin’s voice slices through the shimmer, moving from tense talk-sung lines to a chorus that blooms without ever tipping into bombast. It’s the kind of track that reminds you Raymonde’s bass can carry a melody as sturdily as any lead guitar, a trait you’ll recognise if you’ve ever worn out your Cocteau Twins vinyl.

John Grant is another inspired pick. Cordelia leans into his rich baritone and deadpan storytelling, a slow burn built on synth glow, patient drums and a melody that keeps sliding just left of where you expect it. Grant never overplays it, and the band give him space to do that wry, unhurried thing he does so well. On the title track, veteran Portland soul singer Ural Thomas brings a warm, lived in presence. The arrangement nods to classic soul, with organ and a gentle swing, yet it sits right alongside the more aqueous dream pop pieces without feeling pasted on. That blend is the album’s quiet trick, the way it can pivot from nocturnal indie to soft soul and back, and still feel of a piece.

There’s a cinematic patience to the production. The drums breathe, the pianos ring, and guitars are treated like light sources rather than blunt tools. You can hear that on the instrumentals and the more hushed tunes, where strings and keys are placed carefully so nothing crowds the vocals. It’s not flashy, yet it is exacting. Raymonde has always had an ear for texture, but here he and Thomas trust silence as much as shimmer, which gives the guests somewhere to plant their feet. Even when the science is tight, it keeps a human wobble, the sort of feel that invites you to sit with a side of the record rather than cherry pick a playlist.

As a whole, In Quiet Moments is sequenced for long listening. The double LP format makes sense, with each side sketching a slightly different shade. On vinyl the low end feels unusually tactile, the toms and bass creating a pulse that carries you through the softer arrangements. If you’re crate digging and spot In Quiet Moments vinyl, it’s worth grabbing for that very reason. It also slots neatly beside other Lost Horizons albums on vinyl, a small but distinctive shelf for anyone who likes collaboration forward records that still land as albums rather than compilations.

The record drew steady praise on release, and it’s easy to hear why. There’s craft here, but there’s also generosity. You get the impression Raymonde and Thomas love being accompanists, that they find joy in lifting a singer to their best take, then stepping back. That spirit pays off on repeat plays, when small decisions pop out, like a chiming guitar tucked under a last chorus or a harmony that only shows up once then vanishes.

If you’re building a late night collection or just keen to hear seasoned musicians give a platform to distinctive voices, this is a keeper. And if you’re hunting for Lost Horizons vinyl in a Melbourne record store, this is the spine you want to see. You can also buy Lost Horizons records online if your local is dry, which is handy for anyone in the vinyl records Australia crowd who doesn’t want to risk missing a good pressing. However you get it, In Quiet Moments rewards a front to back spin, the sort of listen that reminds you albums are still a fine way to spend an hour.