Vinyl of the week
The The – Soul Mining
Every time I play this record, it's like stepping into a time machine straight back to the mid-eighties. You've probably seen Ratatouille, where the grumpy food critic takes one bite and is instantly transported back to his childhood. That's exactly what this album does to me. Soul Mining was released in 1983. The following year I was doing my military service. I was standing in a record shop in Kristianstad, casually flipping through the vinyl bins, when a complete stranger said: "Have you heard The The?" - "What a ridiculous name for a band," I remember thinking. But the cover caught my eye. I bought it based on nothing more than a recommendation from someone whose face apparently looked trustworthy enough. What a purchase that turned out to be. If you've never heard This Is the Day, do yourself a favour. The strings, the deep, hypnotic bass, and above all the lyrics. The song moves along almost like a lullaby while quietly reminding you that, in the end, our memories are what hold our lives together. Sometimes life can look wonderful from the outside, while inside all you want to do is close the curtains, lie down on that old single bed again, and drift back to a time when—whether it's true or not—you remember yourself as being happier. The strange thing is how timeless the song feels. Today we tend to romanticise the eighties as a colourful decade full of optimism and endless possibilities. But when Soul Mining was released, it wasn't nostalgia—it was simply the present. Nobody knew what was waiting around the corner. As a vinyl record, this album ranks very high on my personal list. If you don't already own it, find a copy. As for me, I'm actually considering buying another copy. The copy I'm listening to right now sounds like frying bacon. But it's been with me for more than forty years, and every crackle reminds me that records are meant to be played, not locked away on a shelf. Long live Matt Johnson.
Read More
The Gun - GUN
The cover of The Gun’s debut album “Gun” from 1968 is truly striking. The intensely red, high-contrast and almost kaleidoscopic, gate of hell-artwork stands out clearly from much of what was released during that period. It feels surprisingly modern, almost reminiscent of graffiti or later graphic design, while not really revealing what to expect musically. When I first came across the record myself, it was the cover immediately caught my attention; it has a visual impact that sparks curiosity. The music then turns out to be just as multifaceted as the artwork suggests. The album is largely built around powerful riffs and an early form of hard rock energy, with Adrian Gurvitz’s guitar playing driving a strong sense of rawness and weight that often places the record in the category of early proto-metal. At the same time, clear psychedelic and experimental elements—including effects, dynamic shifts and sometimes surreal arrangements—break up the direct rock energy. What makes the album particularly interesting is its unusually ambitious production for a power trio. Several tracks feature brass, strings and more theatrical arrangements, giving it an unexpectedly large and almost cinematic feel. The record also moves freely between more pop-oriented songs, psychedelic excursions and heavier proto-metal passages, with tracks such as “Take Off” often highlighted for their more expansive and psychedelic structures. The overall result is a clear blend of British 60s pop sensibility and the emerging hard rock that would go on to dominate the early 1970s. Vocals, melodies and certain arrangements still carry traces of their time, while the guitars and energy point towards something far heavier and more explosive. So yes, definitely a album worthy recommendation.
Read More
Murasaki – Murasaki
Murasaki's self-titled debut album Murasaki was one of those records that immediately grabbed my attention, and after the very first listen I knew I have stumbled upon something special. It is impossible not to hear the influence of Deep Purple. The Hammond organ is ever-present throughout the album, the guitars move between melodic passages and powerful riffs, and the interplay between keyboards and guitar often feels like a love affair. There are also traces of Led Zeppelin in the organic groove, the bluesy undertones and the raw energy that runs through the music. Fans of Uriah Heep will also find plenty to enjoy here. Murasaki never feels like a copy of its influences. The music has its own identity and confidence, allowing the album to stand firmly on its own merits. Another aspect that continues to impress me is the musicianship. The band is incredibly tight, and it is clear that these musicians had a solid musical foundation. The rhythm section in particular is outstanding. The bassist and drummer play with remarkable precision, feel and musicality, providing the perfect platform for everything else that happens around them.This record captures a period when hard rock was still adventurous and unrestricted. Blues rock, progressive influences and classic hard rock blend together naturally, without ever feeling forced or calculated. The result is music that remains vibrant, dynamic and timeless nearly fifty years later. For anyone who loves early Deep Purple, Led Zeppelin, Uriah Heep and the more organic side of 1970s hard rock, Murasaki is an album well worth discovering—a highly recommendable and iconic performance from a band that helped usher in the heavy rock era in Japan.
Read More
Demon Fuzz – Afreaka!
I remember the first time I saw this Afreaka! album. Instinctively, I thought it was a hip-hop record with a super-cool cover – modern, raw, and carrying a slightly aggressive edge. As I usually do, I slid the record out of its sleeve to check the condition and noticed it said 1970! The album moves freely between the driving rhythms of funk, the rich vocals of soul, the improvisational spirit of jazz, and the atmospheric excursions of psychedelic rock. African rhythms, hard-hitting rock and free-flowing jazz merge into something entirely its own. The mighty horn arrangements and lengthy instrumental passages constantly shift in tempo and mood, leaving you wanting more while each twist and turn sparks curiosity about where the music will take you next. Here we have a band that completely lets loose and, in the most genuine way imaginable, demonstrates a desire to explore new musical landscapes. At the time of its release, this LP was a bold experiment that never quite won over the masses. Over the years, however, it has proved itself remarkably timeless – a rarity that still sounds fresh and relevant today, and one that has become one of the most sought-after and exciting records of its kind. Once you've spun this record, it will return to your thoughts again and again, not like an irritating summer hit that you can't escape, but as an LP that rewards every listen with new discoveries and fresh surprises. And if you're even slightly sceptical about jazz fusion, there's a good chance this record will convert you into a full-throttle believer.
Read More
Queensrÿche – Operation: Mindcrime
Operation: Mindcrime is a fantastic LP with clear ingredients of Whitesnake, Iron Maiden, Judas Priest and Ozzy Osbourne, but also with a razor-thin edge of Pink Floyd hovering over the entire experience. This is a concept album and, in many ways, a fully realised rock opera, with a continuous narrative running throughout the record. Among metal -fans, the album is held in extremely high regard, yet it somehow seems to linger far in the background of mainstream consciousness. The record explores themes of drug addiction, revolution, political leaders and manipulation. The main character, Niki, struggles with his dependency whilst being drawn deeper into a maelstrom of political games, paranoia, betrayal and desperate cries for change. Musically, the band experiments with progressive song structures and electronic elements blended with choirs, heavy guitar riffs and thunderous drumming. Between the heavier passages, the intensity is suddenly broken by quiet, almost haunting sequences that demand the listener’s full attention. Voices whisper commands such as “kill Mary”, whilst the rumble of thunder and the image of a dark, granite-grey sky create an atmosphere of doom and unease. When it finally dawned on me that the songs were in fact connected as part of a larger story, I found myself listening to the album again and again in order to fully immerse myself in the narrative. Eventually, the record became almost like a thriller in musical form, with each song serving as another chapter in Niki’s tragic journey.
Read More
LOOPTROOP - THE STRUGGLE CONTINUES
The Struggle Continues by Looptroop was a door opening for me. For the first time, hip hop felt like something more than just a genre, a new favourite carrying weight, direction, and meaning. The Struggle Continues and Fort Europa became a window into a broader view of the world, where the words cut through the noise and actually meant something. Raw, conscious, and uncompromising, with huge dynamics, infectious groove, and rhythm. A kind of boom bap paoow that didn’t just ask to be heard, it demanded to be listened to. Highly recommend this pride of Västerås.
Read More
Beggars Opera — Act One
Beggars Opera was a Scottish progressive rock band formed in Glasgow in 1969. Act One (1970) was their debut studio album and has since become something of an overlooked gem among progressive rock enthusiasts. Some critics have described the album as a technical showcase designed mainly to impress, but I’ve felt there is much more to it than that. To me, it carries an early prog and slightly krautrock-inspired atmosphere, driven by rich Hammond organ textures, analog warmth, and a subtle blues-infused undertone that gives the music both character and soul. It may never have achieved the legendary status of the major prog classics, but perhaps that is also part of its charm. The album feels personal, organic, and refreshingly genuine—a record I truly enjoy and find myself returning to time and time again.
Read More
The Travel Agency – The Travel Agency
The Travel Agency by The Travel Agency is a psychedelic pop/rock record from Los Angeles, a band formed in 1966. This, the band’s only album, produced by James Griffin, was released in December 1968. This is a criminally overlooked masterpiece — a raw, slightly punk-tinged psychedelic trip that stands out not only for its music but also for its striking visual presentation. The sleeve artwork, created by John Van Hamersveld, is without question one of the finest pieces of sixties album art in my collection. The music is engaging, dynamic and experimental, yet still melodic and thoughtfully written throughout. Some tracks carry a distinctly British folk influence, such as “So Much Love”, while others feel more urgent and hazy, fuelled by swirling psychedelic energy, like “What’s a Man” and “Make Love”. The variation across the album keeps it consistently fresh and unpredictable. If you ever get the chance to pick up this record, do not hesitate — it may well surprise you. Sadly, the band dissolved soon afterward and left no further classics behind. The album was largely overlooked upon release and remains seriously underrated to this day.
Read More
GORILLAZ – पर्वत (The Mountain)
Gorillaz was founded in 1998 by Damon Albarn (Blur) and visual artist Jamie Hewlett, Gorillaz has always existed beyond the boundaries of a traditional band — an anti-celebrity project where music, art, and storytelling take center stage. On The Mountain (2026), the band dives deep into a blend of Art Pop, Neo-Psychedelia, and Synthpop, crafting a soundscape that feels worldly and in the same time intimate. The album unfolds like a journey — layered, immersive, and constantly revealing new textures with every listen. There’s something almost meditative at its core — hypnotic rhythms, hazy synths, and unexpected turns that keep the experience alive from start to finish. This is an album you hear — it’s one you return to, again and again, discovering something new every time the record spins.
Read More