Vinyl of the week
William The Conqueror - Proud Disturber of the Peace
The first time I came across William The Conqueror was at the Wood Festival at Braziers Park, Oxfordshire, in the middle of May 2018. The band had released their debut LP, Proud Disturber of the Peace, the previous year. They were set up beneath the dim lights of the large circus tent, the one with the magical yellow and red striped canvas roof. The atmosphere was intimate, smoky and loud, and the crowd was thoroughly over-refreshed. Naomi on thunderous bass, Harry beating the life out of his drum kit, and Ruarri standing at the front of the stage with his guitar slung low and the microphone stand hanging out over the audience. I remember thinking, "Shit, these guys are brilliant." After the show I wandered over to the band, who were chatting by the bar. Ruarri was incredibly friendly and talkative. He asked me about Braziers Park, and I happily painted him a picture of the place. In return, I asked about the band's discography, and that's when I discovered they had only just released their debut LP. I was drunk enough that Ruarri took my phone and typed in both the band's name and the album title himself, just to make sure I'd remember it the following day. Proud Disturber of the Peace is a remarkably confident debut album, blending blues rock, Americana and indie rock into a warm, organic and live-sounding record. It sounds like a band completely at ease with themselves, playing with enormous confidence from start to finish. The grooves are relaxed, the guitars are raw and the melodies are instantly memorable, while Ruarri Joseph's distinctive voice gives every song both character and emotional weight—you simply don't want to stop listening to them. The album moves effortlessly between driving rock songs and more reflective, folk-tinged moments, creating a wonderfully dynamic whole. The result is timeless, earthy rock music with deep roots in the American tradition, yet delivered with a thoroughly modern identity of its own. William The Conqueror comes highly recommended.
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The Lemonheads – Love Chant
1986 was the year my passion for vinyl really took off while I was a student in Lund. At the very same time, The Lemonheads were forming in Boston. Strangely enough, our paths never really crossed. Of course, over the years I'd heard the odd song, liked what I heard and thought, I really must look into this band. Yet it has taken almost forty years for me to discover The Lemonheads via the LP Love Chant – and the first thing that struck me was just how un-American the band actually sounds. Instead, I hear echoes of British guitar pop, melodies that could just as easily have come from Manchester or Glasgow. This is an album where punk energy meets the melodic sensibility of pop and the reflective nature of folk rock in a way that feels both grand and completely natural. When the album was released in 2025, I could hear the DNA of so many bands on my very first listen. It was almost as if every track had already found its way, in one form or another, into the British and American bands from the 1980s and 1990s that fill my record shelves. The emphasis here isn't on crushing guitar riffs, but on memorable melodies and intelligent lyrics with a subtle political edge. There's a quiet confidence in the stripped-back arrangements – the songs never have to force the issue to leave their mark. I'm particularly drawn to those moments where the performance feels deliberately a little rough around the edges. It creates the impression of a spontaneous jam, an "Oops moment" that simply happens in the flow. Perhaps that's exactly why Love Chant feels every bit as relevant today as it undoubtedly would have done if it had, at least in theory, found its way onto my turntable back in the late 1980s.
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REN - Violet's Tale
The first time I heard Violet's Tale by Ren Gill – better known simply as REN – I was left utterly speechless. It is one of the most compelling performances I have ever witnessed in music. Existing somewhere between music, spoken word and contemporary theatre, the performance allows the story to become every bit as important as the melody. The story tears at you. Time and again, I've watched people stop whatever they were doing, turn towards the loudspeakers and listen with complete attention. By the time the performance is over, it's not unusual to see someone standing there with tears in their eyes. That's how completely the story takes hold of the room. Torsten here at Oops Audio actually played the track for me first. Somehow, I had completely missed REN, but I was utterly captivated quickly. REN doesn't so much sing as lay himself bare. He whispers, narrates, snarls, pleads and erupts in one unbroken emotional arc. His voice moves effortlessly between tender vulnerability and raw desperation, every word soundsrooted in lived experience rather than a pursuit of musical perfection. Perhaps that is precisely why it becomes so profoundly musical, it's extraordinary. To my ears, REN is one of the most original and expressive artists of our time. He combines exceptional musicianship with the courage to explore pain, the darker corners of the human condition, compassion and hope in equal measure. If, like me, you've somehow overlooked him, give him an hour of your life. Don't just listen to what he sings—listen to what he's trying to tell you. His music invites us to pause for a moment, to reflect on what truly matters, to hold the people around us a little closer, and perhaps allow our own humanity to guide us just a little more often.
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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.
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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.
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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.
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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.
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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.
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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.
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