Harold Alexander was a competent saxophonist and dynamic flutist whose early and mid-’70s albums for Flying Dutchman and Atlantic blended originals, soul / jazz and R&B effectively. Alexander recorded three albums (including a live ‘Montreux Jazz Festival’ record in 1972) and contributed to various other recordings during his career. After a very brief period of recording music, from about 1967 to 1974, Alexander disappeared from the music scene. He is alleged to have commented on the music industry by saying: 'Most people don’t know what happened to me…I guess they think I’m gone. They didn’t kill my spirit, but they killed my desire to share'. Before his removal from the scene of recorded music, Harold Alexander provided the world with some incredibly funky jazz fusion tracks with a distinct otherworldly craziness. His most recognized LP is 1971’s "Sunshine Man", on Flying Dutchman Records. On that album, the most sought after groove is the straight up banger “Mama Soul”, which features insane scatting over a delicious funky flute and organ driven beat. An immaculate six minutes of mental vocals and Alexander’s flute doing exactly what the vocals are doing. It comes as no surprise that “Mama Soul” was sampled multiple times by artists from ‘Blackalicious’ to ‘DJ Shadow’. Another highlight (one of the many on this album) is the adept double beat from iconic drummer Bernard ‘Pretty’ Purdie (husband to Aretha Franklin & known for his work with Isaac Hayes, Cat Stevens, B.B. King & Joe Cocker) who is delivering some of the most tight and wicked drum-skills known to man. Bass duties here are filled by another icon: the award winning Richard Davies (known for his work with Miles Davis, Bruce Springsteen, Van Morrison, Frank Sinatra & Leonard Bernstein). Production of the album was handled by industry veteran Bob Thiele who produced & arranged countless albums from the likes of Art Blakey, Duke Ellington, Louis Armstrong, Quincy Jones, John (and Alice) Coltrane & Gil Scott-Heron. Harold Alexander’s "Sunshine Man" is pure bliss; free-form Jazz with hints of soul and P-funk (courtesy of Jimmy Castor collaborator Richard Landrum on the congas) to cosmic music with both profoundly spiritual and resolutely physical dimensions. "Sunshine Man" is that rare record that’s both far-out and funky at the same time. Originally released in 1971, now back available as a limited deluxe vinyl edition featuring the original gatefold artwork. To top all this off, this reissue also comes with extensive liner notes by Harold Alexander himself. An essential!


LP Info: * Back on vinyl for the first time since 1971
* Official reissue of this rare Seventies Soul Jazz classic
* Comes packaged in a gatefold jacket with original artwork and liner-notes
* Strictly limited to 500 copies worldwide, comes with obi-strip

Herb Alpert & The Tijuana Brass

!!Going Places!!

    As part of legendary jazz musician Herb Alpert’s reissue collection, 4 classic albums from the trumpeter’s illustrious catalog will be re-released on LP (180-gram + download). The albums were remastered from the original analog tape mixes by Grammy-winning mastering engineer Bernie Grundman, who was the mastering engineer on many of the Tijuana Brass and Alpert albums. All releases will be presented with their original artwork.

    The Herb Alpert reissue series rolls on with another sunny LP from his mid sixties prime. "!!Going Places!!" sees the trumpeter tackle "Tijuana Taxi", "Spanish Flea" and "Cinco De Mayo" in the midst of a playful, pop-tinged set.

    Herb Alpert & The Tijuana Brass

    What Now My Love

      As part of legendary jazz musician Herb Alpert’s reissue collection, 4 classic albums from the trumpeter’s illustrious catalog will be re-released on LP (180-gram + download). The albums were remastered from the original analog tape mixes by Grammy-winning mastering engineer Bernie Grundman, who was the mastering engineer on many of the Tijuana Brass and Alpert albums. All releases will be presented with their original artwork.

      Originally released in 1966, "What Now My Love" was the sixth album from Herb and his groovy, good time Brass band. By this stage the outfit had shimmied away from the Mexican angle and cut back on the manchego to focus on pop hits and broadway standards, in this case "It Was A Very Good Year" and "If I Were a Rich Man". Nonetheless, as the needle hits the groove we're overcome by the warm sun, sweet sangria and sweeter senoritas as Herb and the boys work their magic.

      As part of legendary jazz musician Herb Alpert’s reissue collection, 4 classic albums from the trumpeter’s illustrious catalog will be re-released on LP (180-gram + download). The albums were remastered from the original analog tape mixes by Grammy-winning mastering engineer Bernie Grundman, who was the mastering engineer on many of the Tijuana Brass and Alpert albums. All releases will be presented with their original artwork.

      The series begins with the bright and breezy Latin jazz of his 1965 LP "South Of The Border" which features Herb's take on "The Girl From Ipanema", "Hello, Dolly!" and "Adios, Mi Corazon". Pour yourself an Old Fashioned and slip on your vintage sunglasses - this is proper Don Draper tackle.

      The mighty Wackies crew conjure up a career-best LP (ranking up there alongside "Skylarking") from one of Jamaica's greatest vocalists. There's reworkings of classic cuts ("Money Money", "Lonely Woman") as well as new future-classics (the Massive Attack-covered "Spying Glass" etc) all served up with heavy helpings of the unmistakable Wackies sound-magic and THAT voice...! One of those untouchable reggae records that every home should own.

      'In The Light' is rightly regraded as Horace Andy's strongest testament. Originally released in 1977 and given confirmed reggae album classic status by it's 1995 Blood & Fire release, it's re-issued here on two separate vinyl formats - this one featuring the original 10 tracks, and the other featuring the 'In The Light Dub' (in its iconic original sleeve). Horace Andy's profile already legendary in reggae circles, has been internationally raised by his work with Massive Attack and his continued live presence, 'In The Light' captures him at the very of his game. 

      Horace Andy

      In The Light / In The Light Dub - Deluxe Edition

      'In The Light' is rightly regraded as Horace Andy's strongest testament. Originally released in 1977 and given confirmed reggae album classic status by it's 1995 Blood & Fire release, it's re-issued here on CD complete with it's Prince Jammy dub companion along with newly commissioned sleeve notes from reggae historian Noel Hawks featuring previously unseen photos. 

      Horace Andy's profile already legendary in reggae circles, has been internationally raised by his work with Massive Attack and his continued live presence, 'In The Light' captures him at the very of his game. 

      Ten tough disco mixes - vocal and dub - with Horace at the peak of his late 70’s form. Originally complied for Blood and Fire, “Good Vibes’ is remastered with new artwork and updated sleeve notes from original complier Steve Barrow. Definitive versions of "Skylarking", "Reggae Rhythm" and brilliantly infectious discomix takes of"Mr. Bassie" and "Pure Ranking". 'longside nuff dubs! Nicely remastered through the Abbey Road suite, these cuts are sounding as loud, dynamic and intoxicating as ever. A great set.

      Horace Andy has always commanded a place high on the list of Reggae singers from Jamaica. His distinctive haunting vocal style stands strong on any rhythm, song or style he chooses to cover.Of the singers on that long list he has managed more so than any other to crossover to a new generation of listeners due to his individual style helped also by his collaborations with the likes of Massive Attack, Horace began his musical career at Coxonne Dodds Studio One,After numerous singles and with two albums worth of material Horace moved on to work with many of the top flight Jamaican producers, among them Keith Hudson, Augustus Pablo and Niney the Observer. But it was his work with producer Bunny Striker Lee in the 70’s that he cut most of his hits for and its from this stable of work we have compiled this set.
      So sit back and enjoy the one and only Horace Andy….

      Horace Andy

      Feel Good All Over - Anthology 1970-1976

        46 tracks from the Horace Andy archives. Includes vocal and dub cuts of tracks like "Money Money", "Poor Man Style", "Skylarking", "Nice & Easy", "Psalm 68" etc.

        Henry Blacker

        Summer Tombs



          HENRY BLACKER have been up and down the country and into Europe relentlessly for the past 18 months, three times playing twice in a day, slamming heads in doors, raging left and right. Touring their debut, 'Hungry Dogs Will Eat Dirty Puddings' (Riot Season, 2014 Cat# REPOSELP039), and road testing the new tunes that have made up LP TWO: 'Summer Tombs'. Recorded in one brutal day, one voice-box shredding day. Westminster Brown (Part Chimp) at the desk, South London, back in September 2014.

          Tunes are more complex, more speed, more frustrated, with the same vocal mangle and rhythmic splat. Seven tracks, 29 minutes, SET TO CRUISE CONTROL AND RIDE. In May they head out on tour with Torche in the UK, and other dates around it. ONWARDS.

          "Revival" is an as-of-yet totally undiscovered electric jazz rock recording from 1977 composed by visual artist and multi instrumentalist Herbert Bodzin. It features brilliant soulful fusion with echoed Fender Rhodes, phased flute, and electric bass and guitar. Most tracks are overdubbed with synthesizers. Fellow musicians are Hans Kämper (of legendary Krautrock group Annexus Quam), Bernd Szemeitzke, Peter Johannesdotter and Bernd Schöttner. Unreleased instrumental versions taken from the rare protest album "Niedersächsische Schlachteplatte"..
          "In 2016, a friend of mine randomly told me about a "…German Placebo album" - he was referring to the Marc Moulin led Belgian jazz fusion supergroup. Of course, this was an audacious comparison and he may have only used it to gain my attention. So he continues with "well, not really - but this album certainly has some breaks". He was talking about the Niedersächsiche Schlachteplatte - an album that I had neither seen nor heard about.
          A few weeks later, I had a copy in my hands. Here was an LP that had been privately released in early 1977 by an artist collective as a protest action against the division and reformation of several rural districts close to Bremen. The original recording itself is an odd mixture of fusion jazz and "Platt", a northern German dialect, which is pretty hard to understand, even for most Germans. The idea for the project initially came from Mr. Gronau, a political activist and art teacher from Heiligenfeld. Assisted by Mrs. Traute Dittmann, they both provided the lyrics for the album. The musical background was written and composed entirely by Herbert Bodzin. I contacted Bodzin immediately when I heard the record. The story began.
          Although Herbert Bodzin, born in 1936 close to Dortmund, may be little known within jazz circles nowadays, he was a prominent figure in the local scene in his day. He played piano, saxophone and flute and had been experimenting with synthesizers since the early 1970s. From 1957 until 1964, in the golden age of European modern jazz, he was in charge of the Jazzclub Hohenlimburg, in partnership with pianist Heinz Wendel. The scene nurtured countless fabulous jam sessions with local musicians and also led to contacts with other German and European jazzmen. Klaus Doldinger was invited a few times as well as the George Maycock Quintet from Düsseldorf, some of the best of the hard bop groups in Germany at that time. Bodzin even recalls how he used to jam with Peter Herbolzheimer in the mid 1960s, while legendary trombonist Albert Mangelsdorff and Dutch jazz pianist Jack van Poll inspired his playing as well.
          While the public interest in jazz waned with the rise of the Beatles and other beat bands, Bodzin continuously sought out new developments within the genre. The days of Soul Jazz, Jazz Funk, and Jazz Rock came, bringing with them electrification and further tonal and rhythmic innovation. Meanwhile, Bodzin lived in Weye, close to Bremen - one of the districts that were about to be reformed. When it was time to perform the "Schlachteplatte”, he was ready with his Fender rhodes and his new synthesizers to provide what he called "Modern Jazz Rock", as noted on the back of the original album sleeve.
          The recording session with the band took place in two days in late 1976 at Boccacio, a small studio in Bremen. On the third day, Bodzin went back into the studio to record the synth backgrounds. The band consisted of Hans Kämper, former member of the legendary Krautrock band Annexus Quam, on trombone and guitar. Bernd Szemeitzke and Peter Johannesdotter, both local artists, featured on drums and percussion, while Bernd Schöttner played electric bass. Though the quintet didn't exist for very long and was initiated originally for the recording session only, a few live performances at political events took place. One of the bigger ones was "Das große Schlachtfest" on February 27th, a major event among the many actions against the division and reformation of the local districts.

          The record itself was released just six days earlier, on February 22nd, 1977. 500 copies of the album were pressed, recalls Mr. Bodzin. The price was 12 DM (German marks, roughly about 6 EUR). About 300 were sold to the local constituency, almost entirely within non-jazz circles. The name "Niedersächsische Schlachteplatte" is a play on words. Niedersachsen is the region in question, whereas "Schlachteplatte" is a German meal with sausages and meat - the name literally translates to "slaughter dish" - a reference to how the land of Hoya was to be slaughtered.
          Even though the combination of jazz and spoken word was moderately popular during that time, because of it's extreme locality, and perhaps also because it was politically motivated, the album was never a huge success. The few jazz fans that were reached by this album could not relate to the artwork and prose, and many local listeners could not relate much to the progressive music. Hence, the Schlachteplatte slipped into obscurity.
          Nevertheless, the compositions and themes, the instrumentation with drums and percussion, electric bass, trombone, Bodzin's delayed piano, the phased flute and his overdubbed synth "string arrangements" make this album a serious hidden treasure. It is arguably one of the most unique German jazz recordings from the 1970s. It stands apart from most contemporary fusion as it retains notable touches of Bodzin’s bebop and hard bop influences, yet builds progressive and even psychedelic elements into it. The musicians provided uptempo tunes such as Landswien Hoya (Land of Hoya), deep psychedelics on Kreisteilung (Flute of Freedom), 6/8 grooves on Ik kann di seggen (Let Me Tell You This) and more.
          Due to the short run and its strictly local distribution the original record really never made it to the surface for jazz and rare groove collectors. Even in recent years and during the German rare groove trend in the late 90s it remained undiscovered. Unsurprisingly, the LP was not added to the database until late 2017. The aforementioned friend simply used it as a nice odd trade item with other vinyl collectors when original backstock copies of the album were being given away for a short time in 2013 at a local newspaper and later sold from a museum for a low price until they were gone.
          Unfortunately, instrumental master tapes from before the vocals were overdubbed in a later session are inevitably lost. Either thrown away from the studio or, more likely, destroyed during a fire in September 1986 when an arsonist was active in Bodzin's hometown of Weye. One night, while he was away at a birthday ball, Bodzin's house - a 250 year old historical building - became engulfed in flames. Herbert Bodzin lost almost all of his personal belongings including an array of early synthesizers and his TEAC tape reels. Luckily and most importantly, his wife and four children were safe.
          Because of the nonexistence of the master tapes, we carefully re-edited and re-mastered the material from a mint vinyl copy to a version whose quality surprised even us. All tracks still have a length of 4 minutes, the arrangements are intact and one surely will not miss anything. Any of the six tracks is a winner, and has something for everyone! Our approach to this album required fresh artwork and new title because of the omission of the original political speech and poetry. Even though we respect the political aspirations of the artists of the original work, and appreciate the lyrical approach of the "Platt" dialect, we hope that the new recording, "Revival", can finally reach the ears and hearts of jazz fans and fusion enthusiasts. It may not be "…a German Placebo", but Herbert Bodzin's brilliant compositions and beautiful production represents an important missing piece in German jazz history.
          By the way, while in contact with Herbert Bodzin - who is now 80 years old and still active as steel artist, painter and musician - we were led to a totally unreleased recording employing experimental synths from 1982 that survived the fire. This unreleased masterpiece will be entitled "Revival II" and is slated to be our next project on "The Artless Cuckoo". "

          “Haley Bonar’s songs marry fizzy arrangements to cuttingly quotable observations about love, disappointment, identity and the curdling of youth.” - NPR

          Recorded on analogue tape at Pachyderm Studios, Minnesota and produced by Haley Bonar and Jacob Hansen, ‘Impossible Dream’ is the follow-up to 2014’s ‘Last War’, which enjoyed widespread critical acclaim and featured in NPR and Village Voice’s Albums Of The Year lists.

          ‘Impossible Dream’ is Bonar’s most ambitious record to date. Blending scuzzy 1980s indie, new wave angularity and Spectorish reverb, her songs are, as NPR once described, “as relentlessly catchy on the surface, as they are alluringly complex underneath.”

          Hypnotic opener ‘Hometown’ shimmers like a Twin Peaks outtake, the shuddering, swirling ‘Kismet Kill’ recalls Mazzy Star, while the soaring synth and pounding drums of ‘Stupid Face’ summons the spirit and melody of ‘Porcupine’ era Echo And The Bunnymen.

          Intrepid and diverse, ‘Impossible Dream’ is consistently bold, infectious and inventive.


          Andy says: Huge pop melodies and 80's classic indie vibes pervade on this instantly likeable new album from Haley Bonar. Could be the feel good hit of the summer.


          Coloured LP includes MP3 Download Code.

          LP includes MP3 Download Code.

          Many Hawaiian records released in the early 70s through to the early 80s have that authentic AOR sound that so much timeless music from The West Coast of America has from that golden period when ‘The Canyon’ was bristling with legends.

          Hal Bradbury’s “This Is Love” is one of those records. The album is considered to be one of the Holy Grail Hawaiian LPs that record collectors the world over dream of… a masterpiece of modern Soul and AOR from ’81, originally released on the very small and obscure Fan Records. Hal Bradbury, one of the lead singers from the legendary Hawaiian pop group The Fabulous Krush, released this solo album only available and sold at his gigs around the islands. The Fabulous Krush was Hawaii’s favorite band, a charismatic, dynamic and superbly talented group, that gave its audience good, clean fun and a happy wholesome entertainment with every performance. The album contains disco tracks like “Babe I Want You” written by Bradbury himself as well as cover versions of Sam Cooke’s “You Send Me” and The Beatles’ “She’s My Woman", as well as the “You Win I Lose” a track first unearthed by Japan’s trendsetter and co compiler with Kon & Amir on the legendary ‘Kings Of...' compilation series DJ Muro; as well as appearing on the 'Americana Rock Your Soul 2' compilation. This is the second instalment of BBE’s very ambitious and deep-digging reissues series.

          Darla offers a new collaborative effort from Harold Budd and Clive Wright. "Candylion" contrasts previous work, "A Songs For Lost Blossoms", in that it is more thoughtful and structured. Still, it constantly surprises the listener with a fresh collage of aural landscapes and moods. Sometimes it evokes the feeling of a traditional Japanese piece, or the mood of a gentile, 60s, British film, or a Renaissance cathedral with cloisters reverberating a choral ensemble. Harold Budd and Clive Wright use new colours to paint "Canylion"'s soundscapes: Harp, strings and even drums. If "A Song For Lost Blossoms" reminds listeners familiar with Harold Budd's previous works of his collaboration with Brian Eno, then "Candylion" may serve as a continuation of the spirit of "Avalon Sutra"; warm, glistening, meditative and alive.

          Emerging from the 60s US avant garde and originally influenced by the likes of John Cage and Morton Feldman, Harold Budd rebelled against the heavily conceptual works of his peers to explore his own artistic path of ‘existential prettiness’.

          This two disc set is the first ever career-spanning collection of his music, featuring tracks from classic albums such as ‘Plateaux Of Mirror’, ‘The Pearl’ and ’Lovely Thunder’, alongside collaborations with Brian Eno, Cocteau Twins and John Foxx.

          2CD digipak with 16 page booklet. Sleevenotes by Mark Prendergast, author of ‘The Ambient Century’.

          “I was handed this tape by Gavin Bryars [in the mid- Seventies]; it struck something very personal in me. It was music that could seduce; if there's only a conceptual underpinning and no seduction, that doesn’t make it for me. He came with this ability for making lovely minimalist music, and I was developing new techniques for making piano sounds at the point when recording studios had started to do these things well.” - Brian Eno

          “I went to see him play in Manchester. I thought he was probably very precious and difficult to work with. He wasn’t. I immediately liked him. We went out for dinner and ate loudly and messily. Then I saw him play and I was mesmerised. There’s motivation in every note.” - Jah Wobble

          “What he does is he just swims very gently against the tide all the time. He’s been doing it all his career. I think that is what he set out to do a long time ago. When you meet him you realise he's got steel in his soul.” - John Foxx

          Hannah Lou Clark

          It's Your Love

            Quatre Femmes Records present ‘It’s Your Love’ from Hannah Lou Clark.

            This is Hannah’s second EP and the follow up to her critically acclaimed debut EP ‘Silent Type’.

            Extensive touring around the release of ‘Silent Type’ offered a fresh perspective on certain things in Hannah’s life. ‘It’s Your Love’ was written over this touring period and sees Hannah further experimenting sonically.

            Produced by Hannah and mixed by Tarek Musa of Spring King, this EP offers an artist in full command of her voice.

            Hannah Cohen

            Pleasure Boy

            Music often comes from a deep place, and in the case of Hannah Cohen’s stunning and heartrending second album, it’s very deep indeed. Mainly inspired by a painful break-up and the anxieties that loss can trigger, Pleasure Boy cushions its sadness in an exquisitely nuanced soundscape of aching melancholy and lush melody where Hannah’s vocal conveys all the different shades of heartbreak. Following the album’s completion, she’s survived the calamity and found a new level of happiness, but to paraphrase the classic Sixties hit, there will always be something there to remind her with Pleasure Boy.

            ‘Pleasure Boy’, like her debut ‘Child Bride’, was produced by Thomas Bartlett, aka Doveman, whose work with artists such as The National, Antony Hegarty and David Byrne singles him out as one of America’s current finest producers and collaborators, though he’s also a talented pianist. The dynamics of ‘Pleasure Boy’ was the result of Hannah and Bartlett, “bunkering down with my songs, experimenting with different tones and sounds, and layering them. My first record was so airy and roomy, I didn’t have patience for that again, I wanted more movement, something more mysterious and witchier, so we created this sound wall together.”

            “I wanted the music to hurt, to have a visceral effect,” Hannah says. Her voice sometimes sounds delirious or icy; other times she recalls the vulnerable, piercing beauty of Harriet Wheeler (The Sundays) and Karen Peris (The Innocence Mission). But Pleasure Boy‘s sound wouldn’t exist without the vision that launched it. The album title arrived as the record took shape. “Pleasure Boy is a character of who it’s about, someone who represents gluttony and decadence and richness,” Hannah explains. She admits it was a tough record to make, given she was aiming to heal emotionally while feeling “devastated and hurt. But it wouldn’t be the record it is if I hadn’t done that.”

            The album is the follow-up to her fantastic eponymous debut album which was released to huge acclaim in 2011, with Q calling it "gorgeous late '70's style reggae pop" whilst the BBC named it as "one of the most enjoyable reggae albums of 2011". In 2012 a dub version of the debut album was released – "Prince Fatty Presents Hollie Cook In Dub". That same year Ian Brown asked Hollie to support The Stone Roses on one of their hugely anticipated reunion shows at Manchester's Heaton Park.

            The new album "Twice" sees Hollie's obvious love of reggae joined by other influences including Bond-like strings, Brazilian percussion, dark disco and shades of Giorgio Moroder. She is joined on the album by Dennis Bovell, Omar, George Dekker and Winston Francis. The strings on the album are the Macedonian Radio Symphonic Orchestra and Choir. The album was produced by Prince Fatty.

            Hollie Cook combines her unique vocal talent and charisma to craft a dynamic strand of lovers rock with enduring tropical vibes, weaving a path from her West London roots to an arena of diverse collaborations, critically acclaimed records, and iconic live appearances around the world. Cook’s ability to surprise, delight, and progress solidifies her position as one of the most exciting voices in reggae, and this is clear on her third full-length and Merge debut, "Vessel of Love". Cook’s music career commenced at age 19, when family friend and punk trailblazer Ari Up asked Cook to join the raucous ’70s post-punk outfit The Slits for their reformation in 2006. Thrown into the deep end she thrived, and quickly cut her teeth with four years of back-to-back shows around the globe. Her talents recognized and nurtured, she then released her first solo album "Hollie Cook" in 2011, with a revered 2012 dub album follow-up, while singles such as “Milk & Honey” and “That Very Night” gained support from influential radio stations across Europe. After performing at The Stone Roses concert at Manchester’s Heaton Park at the personal request of Ian Brown, and her hypnotic performance on the prestigious Later…With Jools Holland, the way was paved for Hollie’s solo career. By the end of 2014, Jamie T had requested her support for his Alexandra Palace show and featured her on his track “They Told Me It Rained.” Cook had also unleashed "Twice" via Mr. Bongo Records, and with Mike 'Prince Fatty' Pelanconi once again aiding in the album’s conception, Cook confidently delivered her follow-up to a well-received debut. Hollie hit the road with both The Skints and Protoje, and lent her vocal talent to Quantic’s “Shuffle Them Shoes” single, which also featured on his 1000 Watts album. Acclaimed legendary producer Martin 'Youth' Glover (Killing Joke) is Cook’s most recent collaborator, lending his venerable production expertise to "Vessel of Love". Hollie Cook sits in good company on Glover’s impressive production list, joining Paul McCartney, Tom Jones, The Verve, Primal Scream, Pink Floyd, and Depeche Mode. Glover describes Cook’s songs as 'sharp lyrical observations and clever word play combined with an exquisite and informed pop sensibility.' Hollie Cook’s vibrant, spirited take on lovers rock radiates positivity, and with "Vessel of Love", expect to see her on top of the tropical throne of pop in 2018.


            Indies Exclusive LP Info: Transparent Pink indies edition.

            Indies Exclusive LP includes MP3 Download Code.

            Hugh Cornwell

            The Fall And Rise Of Hugh Cornwell

            The first ever Anthology of his post-Stranglers career.

            Since leaving The Stranglers in 1990, Hugh Cornwell has made a series of well-received solo albums 25 years on from leaving the band, this album brings together 12 (super-high-quality remastered at Abbey Road) choice Cornwell classics taken from the fi rst 6 solo albums, plus one brand new studio recording, “Live It And Breathe It” (CD only) A solo acoustic tour of the UK in November 2015, will support the release of ‘The Fall And Rise Of Hugh Cornwell” and will feature many of the songs contained on the album, as well as some other fan favourites, and classics from his time with The Stranglers.

            “New song “Live it and Breathe it has both bark and bite” - MOJO.
            “Cornwell’s pop sensibility remains utterly intact” - Classic Rock.

            There's no stopping the Electrics posse right now (2004 that is...): Hot on the heels of the "Electric Soul 2" compilation and Electric Souls weekender they come forth with a brand new 12" by longtime Chicago house producer Harrison Crump (he's had tracks out on Clashback, Power Music, Groove On, Poumchak, Sublime, Radikal Fear, Nepenta, Dust Traxx, Essence, Audiodeluxe, East West, PIAS and his own Hump Records label to name but a few). "Ride" is a wonderful piece of good old fashioned Chi-town house, with looped up samples, funky beats and a great soul vocal by Tony Ransom, making for a killer club tune, and reminding you why you love house music! On the flip (and tucked away as a hidden track at the end of the "Electric Soul 2" CD) is the full vocal mix, a gorgeous mid-tempo groover that makes full use of those soulful vocals. A mix that will be just as at home on the floors of the country's modern soul rooms as well as the house clubs. Perfect basement soul music that is the stamp of the Electric Chair label's quality.


            12" Info: last ever copy!

            Holger Czukay

            On The Way To The Peak Of Normal - Picture Disc

              Re-release after 15 years of Holger Czukay’s early solo work.

              ‘On The Way To The Peak Of Normal’ is the third album by Holger Czukay, originally released in 1981.

              After ‘Movies’, his first post-Can solo album, Czukay continued exploring the methods of sampling and laidback jamming on this follow-up. The side long ‘Ode To Perfume’ / ‘Fragrance’ coasts along on some heavily twangy guitar, shortwave static, treated vocals, and drunken trumpet, all in a hypnotic late night groove.

              Intended as environmental music for some underlit, velvet clad chillout room, the album can be seen as one long rumination on improvised understatement.

              Holger Czukay

              On The Way To The Peak Of Normal


                New and unreleased versions of the legendary album (1981) by Can member Holger Czukay!

                Recorded with Conny Plank, Jaki Liebezeit and the German post-punk band S.Y.P.H.

                Pink vinyl including poster

                Limited edition of 500 units worldwide

                Holger Czukay & David Sylvian

                Plight & Premonition Flux & Mutability

                  Instruments abandoned to the earth and woods David Toop

                  A spiralling winter ghost, translucent fabric, muddied and twisted, discarded net curtain perhaps, lies among leaf tangle and the crocodilian forms of tree fragments, reminiscent of antique spirit photographs of ectoplasm. In 1988, the year that Plight & Premonition was first released, I recorded a conversation with David Sylvian. He spoke of his ability to create atmospheres: “I like photographs that capture a moment. The mood that they create changes with your mood – with the mood of the viewer. They are static but they can create different kinds of emotion within you. That’s a good description of an Auerbach painting. It’s like movement frozen within a framework. That’s what is visible.” He also spoke of fishing in the dark, searching within fluid movement, the frame ambiguous, nothing visible.

                  “But all the same,” wrote Andrey Tarkovsky, “I have a feeling that there must be other ways of working with sound, ways which would allow one to be more accurate, more true to the inner world which we try to reproduce on screen; not just the author’s inner world, but what lies within the world itself, what is essential to it and does not depend on us.”

                  This speculative thought is taken from the ‘Music and noises’ section of Sculpting In Time, Tarkovsky’s collected notes on cinema first published in 1986. A few paragraphs earlier in the same section, the sense of a radical quest, a rethinking of sound, is established with the following passage: “It may be that in order to make the cinematic image sound authentically, in its full diapason, music has to be abandoned. For strictly speaking the world as transformed by cinema and the world as transformed by music are parallel, and conflict with each other. Properly organised in a film, the resonant world is musical in its essence – and that is the true music of cinema.”

                  There were no thoughts of cinema, screens or abandoning music in the winter of early 1986 as David Sylvian arrived in Köln, ostensibly to contribute (though never to record) a vocal for “Music In the Air”, the final track on Holger Czukay’s Rome Remains Rome LP. Bare trees lined the route from Köln airport to Can’s studio, a mattress-lined converted cinema in Weilerswist. Outside: the “cake-layered earth, patches of dirtied snow, trickles of water, the dried, dusty remains of autumn.” An Anselm Kiefer landscape, bitter cold defying the studio heaters. 1986 was the beginning of glasnost but as I listen again to “Premonition (giant empty iron vessel)” I divine in its shortwave chatter, ominous ground bass and rolling mist of cycling chords the Cold War slipping away – an elegiac urgency flexing between hope and dread.

                  This is one way to hear it, the hindsight strategy. On its release in 1988, delayed by record company recalcitrance, the emotional effect was, as I recall, more personal, more wrapped up in the floating bliss of it, its yearning and searching. Then there was the history that might give it context, a brief history comprised only of approximations: Jon Gibson’s Visitations, Basil Kirchin’s two Worlds Within Worlds LPs, Alvin Curran’s Songs and Views From the Magnetic Garden, Brian Eno’s On Land and from 1969, Canaxis 5 by Technical Space Composer’s Crew (actually Holger Czukay with Rolf Dammers). All of these records were beatless, atmospheric, using techniques that we would now describe as sampling, all uncertain of a place within established categories of music unless they claimed new territory for themselves, as with Eno and ambient. As records, they opened windows to the sounds outside and the sounds inside, rendering the distinction meaningless.

                  Plight & Premonition, Flux & Mutability, both titles are predicated on instability. Meanings are equally mutable, perhaps the beginning of a spiritual journey, a climate of uncertainty, the experience of improvisation, a door opening (that may quickly close again). That first nocturnal session in the Can studio began unconsciously, or at least without initial awareness that music was being made, Sylvian enjoying the opportunity to play a pump organ, then growing aware of a slippage in the room as Czukay played orchestral samples through the fold back system: “I fell into a trance.” Ethereal sounds looped through the space. He moved to the piano, searching for something concrete. After ten or fifteen minutes he found it, only to hear Czukay tell him to move on: “He’d only wanted the process, the uncertainty, the ambiguity of the searching out of ideas.” The night wore on; as soon as fixity or some compositional motif crept in, so the machines would be taken out of record, as if establishing an equilibrium between the transience of making and the indelibility of recording.

                  They stopped shortly before dawn. Later the following day they listened, feeling they had touched on something: “A form of music that seemed to have been created while we were absent by instruments abandoned to the earth and the woods, sounded by the coarse winter elements.” Another evening’s work ensued, this time they were acutely aware that awareness had to be treated with caution. The presence of the ‘musicians’ needed to flicker at the edge of absence; the imperative of the method being evocation rather than composition. Working alone, Czukay made headway with “Plight”, adding more material, a minor piano motif, flute samples, transitioning between sections with audible cuts, those trademark edits of his which jolted new worlds into being. “Premonition”, on the other hand, is heard as it was played, layered and spontaneous with no edits.

                  Flux & Mutability was recorded in the same studio after what Sylvian describes as his dispiriting solo tour of 1988. The setting had changed: a new mixing console, a recording engineer, new lighting: “Everything was brighter.” Jaki Liebezeit played a high-pitched, handheld drum (harmonized down in pitch), Michael Karoli added his guitar to the numerous guitar overdubs played by Sylvian and Czukay. Faced with instructions to reduce harmonic variations and expression, Marcus Stockhausen played incisive, poised flugelhorn. The feeling is clearer, more ‘musical’, perhaps more satisfying for those who like to have a road to follow.

                  But Plight & Premonition, Sylvian says, is one of the few works that he could actively return to and objectively enjoy as a listener. From the influence of film, musique concrète, and his admiration for Foley artists he was able to build a sense of non-linear narrative. The legacy can be heard in more recent recordings, such as When Loud Weather Buffeted Naoshima and Playing the Schoolhouse. “These are direct descendants of what was unearthed over a period of two nights,” he says, “animated by a primal spirit, in a converted cinema on the outskirts of Köln, over thirty odd years ago.”

                  All quotes from David Sylvian unless otherwise indicated.

                  Holger Czukay


                    “Holger has been probably the best editor with tape I ever came across,” says producer and recording engineer René Tinner, who worked closely with his studio partner Czukay from the seventies to the nineties. “He could have 90 or 100 slices of tape on a table, and he could by magic put them back together with music, perfectly. In that, he was a pure master.”

                    The music in this box set does indeed demonstrate masterful arrangements of sounds and sources, movement and melody, humour and seriousness, that can well be described as magical. It is also a set of unpredictable keys and ciphers, revealing a unique worldview where high artistic rigour meets continual openness to chance and serendipity. In this, Holger not only cut and pasted music, but time, place and mindsets, when such things in popular culture were not only technically near impossible, but virtually unprecedented. (Ian Harrison / Mojo)

                    FORMAT INFORMATION

                    4xLP Box Set Info: This boxset contains 5 vinyl including previously unreleased material, a DVD, a VinylVideo, a lush 36page booklet and a download code

                    FREE SHIPPING This item has FREE UK shipping!

                    Howie Day


                    21-year old Howie Day is a new singer-songwriter from the US who supported Tori Amos on her 2003 tour. Those who saw him in Manchester saw a talented musician armed only with an acoustic guitar, who uses an array of delay pedals to create and control an invisible band. He slaps his guitar for a backbeat, picks the melody out on a couple of strings and sings his own backing vocals. The sounds bounce around until Day pulls them all together with his guitar and soaring voice like a latter day John Martyn. Inspired by the emotionally raw songs of Jeff Buckley or Richard Ashcroft, they are full of broken hearts, regrets and loss and this debut does have a dark tone, but Day is one of those artists that will just get better and this is a good beginning.

                    Hans Edler

                    Elektron Kukéso

                      After having served in the rich Swedish beat 1960's scene as a member of The Ghostriders and We 4, a.o., at the end of the decade Hans Edler became one of the pioneers of psychedelic electronic sounds experimentation in Europe. His "Elektron Kukéso" LP is a landmark in the genre. Released in 1971, it featured his explorations in electronic avant-garde music from the period 1969-1971. It was recorded at the Electronic Music Studio foundation, one of the world's most advanced studios in the era, and one of the few prepared for the creation of electronic music.

                      Influenced by the works of Karl-Heinz Stockhausen and using techniques similar to those of Pierre Henry or Raymond Scott, Edler brought a psychedelic edge into electronic music just like Silver Apples had done in the USA. The album has also a strong rock attitude plus a certain pop sensitivity in some passages, not far from that of David Axelrod's, which confers it a distance from what used to be the more serious appeal of what most electronic pioneers had been doing, giving the album an accessivity that is closer to the electronic hits of artists such as Gershon Kingsley, Jean-Jacques Perrey or Dick Hyman. However, be it because of the songs being sung in Swedish or the outsider reputation Edler seems to have in the Swedish musical scene, this great LP remained an obscurity - hardly spoken of outside a small circle of connoisseurs and collectors.

                      "It really doesn't get much better than this. In these days of harsh turmoil to uncover a rock & roll sweetheart like Hans Edler it really proves the gods to be smiling. Bonafide electronic experimentation with a heart full of pop is a love potion most desirable. Listen to the religious Brian Wilson-meets-Jandek orayer hymns of young Edler and travel to a time when long haired girls and dope-laced boys were truly getting it "on". The hybrid fascination of electronic space composition and soul sweet pop-love in such a fresh state has me floating to my tombstone cloud." Thurston Moore (Sonic Youth).

                      "Hans Edler's Elektron Kukéso reflects a man who, musically speaking, is in a world of his own. Edler's music seem to be totally uninfluenced by the music of his day. On the contrary, Edler seemed to be making up his own musical rules, and if the rest of the world didn't follow, that was probably fine with him. As for his tunes...(they)... resemble folk music, but in a strange, contorted way. I have never heard an album that is so devoid of musical influence of others, and to me, that's what makes it remarkable." Dana Countryman (Cool and Strange Music Magazine).

                      FORMAT INFORMATION

                      Ltd LP Info: Since the original LP was pretty short, seven bonus tracks not appeared on the original release have been added. These songs predate the LP tracks and are from 1969 / 1970. Remastered sound, an insert with photos and liner notes complete this great reissue of this legendary Swedish electronics LP.

                      Hanni El Khatib

                      Devil's Pie


                        Hanni returns after his triumphant album 'Moonlight' with the cover of D'Angelo for Record Store Day 2015 on pie picture disc 7" vinyl.

                        On his 2011 debut Will The Guns Come Out, Hanni El Khatib tried something he’d never tried before—making a bedroom-style recording of his stripped brand of rock‘n’roll mostly for the sheer joy of making it. For his ferocious 2013 follow-up Head In The Dirt, he tried something new again, enlisting Dan Auerbach as a producer.

                        But after Head In The Dirt’s release and almost a year of relentless touring, Hanni knew he needed to go past ‘unpredictable’ all the way to ‘unprecedented.’ He needed isolation, time and the chance to experiment. So after 30 days locked in hand-picked L.A. studio The Lair, the result is the most receent album Moonlight—the rarest and most welcome kind of album, made at that perfect point in life where confidence, experience, and technique unite to help an artist do anything they want.

                        That’s why it starts with a song that sounds like a Mobb Deep beat under a Suicide-style synth drone and ends with an ESG-meets-LCD Soundsystem gone italo-disco song about life and death. That’s why it collides crushing crate-digger drumbeats that’d be right at home on a Can LP or an Eddie Bo 45 with bleeding distorto guitar, bent and broken barroom piano and hallucinatory analog flourishes.

                        Hanni El Khatib’s first idea for his Savage Times project was to do something he’d never done before. Instead, he ended up doing …well, everything he’d never done before. He’d be playing new instruments, writing in unfamiliar new ways, opening himself up to an unrelenting stream of ideas and dedicating himself totally to pure musical instinct. And the result? 19 best-of-the-sessions songs, as well as the kind of creative revelations that only happen when you quit looking around and start looking ahead.

                        Originally, he’d hoped to explode the lingering idea that he was simply a blues-rock guitar player, but that’s why Savage Times touches on everything from garage rock to punk to disco, hip-hop and even some unexpected solo-guitar self-portraiture. But on the way, he also exploded his own idea of what he could do—even maybe who he was, or would be. Savage Times was an experiment as well as an experience, that touched on some of the most personal, social & political elements to date.

                        FORMAT INFORMATION

                        3x10" LP Info: Limited-Edition Custom Hardcover Booklet with Three 10" Vinyl LP's & Download Card

                        Hanin Elias

                        No Games No Fun

                        This is the second LP from the Atari Teenage Riot singer / founder. It's on Digital Hardcore's Fatal Industries offshoot, and includes collaborations with J Mascis, Alec Empire, Khan, Merzbow, Einsturzende Neubauten's Alexander Hacke etc.

                        Henry Flynt / CC Hennix

                        Dharma Warriors

                        The "Dharma Warriors" was the elemental guitar / drum rock concoction of Henry Flynt & C.C. Hennix. In 1983, the pair hooked up in Woodstock at Hennix's rented house and let freedom ring with two lengthy boombox recordings. "Warriors of The Dharma" and "Mount Fuji On My Mind" are classics of unrefined blues boogie and unhemmed stoner rock.

                        Henry Flynt

                        You Are My Everlovin'

                          Philosopher, musician and anti-art activist, Henry Flynt has long foregone the academicism often associated with “serious music” in favor of a uniquely intuitive, emotional approach to composition. In the 1960s and 1970s he was a part of NYC’s vibrant avant-garde scene, studying with Hindustani singer Pandit Pran Nath and developing his own proprietary technique on violin. You Are My Everlovin’, Flynt’s first published musical work, finds the composer in peak form at a lower Manhattan loft in late spring 1981. Featuring solo electric violin and pre-recorded tambura, this sinuous performance elegantly brings together disparate vernaculars—Southern blues, modal jazz, Appalachian fiddle, North Indian raga— into a new and bracing whole. As Flynt writes in the liner notes, “The electric violin timbre is crucial; it allows me to crush the diverse styles into a unity. I imagined the genre as open, radiant improvisation…an open plain that could absorb anything.” Incorporating themes and melodic phrases from his earlier work, Everlovin’ becomes Flynt’s own Gesamtkunstwerk—a work that is at once rooted in and liberated by the drone, revealing the profound mutability and utter singularity of this American iconoclast.

                          Hiiragi Fukuda


                            “Dump” (and its B-side “Don’t Worry Be Slow”) has the massive guitar solos that Hiiragi Fukuda’s masterpiece of late-night mellow My Turntable Is Slow could not contain. Both songs possess an earlier-in-the-evening swagger that make them as complimentary to Hiiragi’s LP as “Suspicious Minds” is to The Memphis Album. The single is limited to 300 copies.

                            Recorded in 1973 and originally released on Three Blind Mice, “Morning Flight” by trombonist Hiroshi Fukumura, joined by Shinji Mori (drums), Tsutomu Okada (bass), Hiroshi Tamura (piano) and seconded by Shigeharu Mukai on trombone, is a stunning modal and spiritual jazz album. Perfect for fans of John Coltrane (and featuring an interpretation of his "Cousin Mary" composition), the LP delivers fluid grooves, expressive solos and a heady depth - ingredients which have kept it at the top of wantlists for decades. 

                            Howe Gelb

                            'Sno Angel.......Like You

                            "'Sno Angel" is a new project from Howe Gelb, recorded with the help of a Canadian gospel choir called Voices Of Praise, but this is not gospel music, in theme or in content. Howe describes the album's goal: 'It was a grand experiment to see if we could mesh the sounds of the muck I make with the dizzying effect of the glorious sound (the choir) makes.'

                            Howe Gelb & Lonna Kelly

                            Further Standards

                              The Standard Of Further: After a year of taking these new piano standards on the road, we now have a better sense of how they roll off the fingertips. As we enter our second year performing these pieces from “Future Standards”, the material has taken on the sonic patina of precisely the intention of the title. This new album now takes inventory by adding Lonna Kelley to several of the original tracks from “Future Standards” to ‘up’ the previous standard. Further, it offers evidence of how these standards hold up live in concert one recent steamy night in London. But first this new album begins with 2 new songs: “Presumptuous”, recorded with mute piano and whispered warble, suggests heartbreak is a setup from the get go. “All You Need to Know”, playfully interrogates the notion of love with suggested orchestration and yip. This album is meant to evoke its own lush standard a little further down the road in a future just a breadth beyond now. Howe Gelb, October 2017. “Further Standards” featuring : Lonna Kelley on Vocals, Howe Gelb on Vocals & Piano, Thøger Lund on Bass, Andrew Collberg on Drums, Naim Amor on Guitar. 

                              FORMAT INFORMATION

                              LP includes MP3 Download Code.

                              Howe Gelb does not stand still. His next solo album ‘Future Standards’ sees him fulfil a long time aspiration to play jazz standards. Inspired by the classics, his piano songs have found a clearer shape as "future standards” but have always been a central element to his creativity. Sitting neatly against his huge back catalogue of solo records, these compelling and timeless songs are alluringly melancholic and reflective. Often collaborating within his own bands and side projects, the album sees Howe (piano & vocals) joined by Thøger Lund (bass), Andrew Collberg (drums) and guests Lonna Kelley (vocals) and Naim Amor (guitar). 

                              Howe Gelb

                              Sno Angel Like You + Sno Angel Winging It

                                Clocking up a decade since its initial release ‘Sno Angel Like You’ will be reissued this September celebrating its ten year anniversary. Collaborating with Canadian Gospel Choir, Voice of Praises following a performance at 2003’s Ottawa Bluesfest where Howe was billed alongside gospel choirs. Howe experienced his own awakening of sorts and found himself discussing with the church director the possibility of recording together. A similar run of events ensued at the same festival and Howe would go on to meet folk singer Susan Odle. Recruiting along the way, Jim Bryson’s keyboard player and recording engineer Dave Draves was soon on board and would go on to record the album. Once in the studio, Howe met drummer Jeremy Gara (pre-Arcade Fire) and together they laid down the initial recordings of the album on guitar and drums using similar recording techniques to older Giant Sand. Recording seven new songs with the choir arranging vocals, they also covered three Giant Sand songs and three Rainer Ptacek tracks. The uplifting and soulful popular tenth solo record sees “the occasionally unassuming, semi-mumble of Gelb's voice contrast marvellously with the trained, primed-for-transcendence-quality singing of Voices of Praise.

                                FORMAT INFORMATION

                                2xCD/DVD Info: 2CD and DVD book feature documentary 'Sno Angel Winging It

                                Very limited double pack vinyl single. Two stand out tracks from the CD/DVD package "Sno Angel - Winging It" - "Nail In The Sky" & "Worried Spirits"; coupled with re-renderings of a pair of Giant Sand numbers in "Neon Filler" & "Chore Of Enchantment". All tracks feature Howe and his Canadian based 'Sno Angel touring band backed by the Voices Of Praise choir.

                                Lead track "Nail In The Sky" is pure Howe, playful lyrics, a subtle sigh in the voice and those chords picked out just so, providing that fine patina that coats the best of Howe's sonic wardrobe, and with a chorus to rival Neil Young at his most populist. The remaining tracks finds Gelb and band taking a more bluesy rocking direction on a cover of Rainer’s "Worried Spirits", whilst Howe’s Americana-beatnik persona is more to the fore on "Neon Filler", and the Voices Of Praise provide a fitting crescendo on the closing "Chore Of Enchantment".

                                Howe Gelb

                                Little Sand Box

                                  Here is the Little Sand Box, an 8 CD box-set featuring all six commercially released solo albums by Giant Sand frontman HOWE GELB. Each album has bonus tracks and alternative takes and also included is the Sno Angel Winging It live CD and a selection of piano pieces entitled Some Piano. The Little Sand Box includes liner notes from Howe, with an introduction from Sylvie Simmons, presented in a 48page perfect bound booklet.

                                  Albums included in the Little Sand Box are :
                                  1. Dreaded Brown Recluse
                                  2. Hisser
                                  3. Confluence
                                  4. The Listener
                                  5. Sno Angel Like You
                                  6. Sno Angel Winging It
                                  7. Alegrias
                                  8. Some Piano….

                                  "The solo albums came about as an afterthought", Howe explains, "loving better the notion of hiding inside a band like Giant Sand for the rest of my life. When life demanded something else, then they began to happen." At first severely home-made and lo-fi with "Hisser" during the days when Rainer was critically ill. Followed by the depressing "Confluence" when everything turned to shit in the late 90s. And back up again and running fine with "The Listener", which began the resurgence of the sonic spirit during a surprisingly long stint in Denmark. That path would then lead to the sizzling season with a full gospel choir attached in Ottawa, Canada with the release of "'Sno Angel", and shockingly Mojo's 5 star praise of it. Next would come the most gratifying time spent surrounded with guitars in discovering the city of Cordoba, Spain and recording "Alegrias". This recording, the Spanish critics declared, melded indie-rock pluck with the prowess of Flamenco strum in a rarefied way that was heralded significant instead of the usual 'touristo' failings to marry Flamenco with anything. It also attracted one of Spain's most famous guitarists into the session, maestro Raimundo Amador. Cordoba felt like the closing of a significant circle, feeling more like home then home, due maybe to my own DNA and probably the originating point of what one-day would become Tucson. The album was so wonderfully received in Spain and granted me a kind of peace, now in my 50s, to find myself in such exquisite company whereby the sonic pathways thru gospel and Flamenco all began with meeting Rainer (Ptacek)."

                                  FORMAT INFORMATION

                                  FREE SHIPPING This item has FREE UK shipping!

                                  Holly Golightly & The Brokeoffs

                                  Clippety Clop

                                    Mighty Headcoatee Holly Golightly returns with a brand new album.

                                    Holly Golightly

                                    Seven Wonders / Nothing Lost

                                      “Seven Wonders” is taken from Holly's forthcoming album Slowtown Now! It's backed with an exclusive B-side “Nothing Lost”. Performed by the perfect Holly Golightly band line-up of Bruce Brand (drums), Matt Radford (double bass), Ed Deegan (guitar) and Bradley Burgess (guitar). Though the last decade has seen the London-born singer relocate from the Medway delta to the southern state of Georgia, USA, she returned to Blighty late last year to record a new solo album at London’s Gizzard Studios with Ed Deegan at the controls.Holly first came to musical prominence as a member of Thee Headcoatees, a Billy Childish/Thee Headcoats all-girl splinter group in 1991. Four years later she broke away from the garage punk scene with the release of her debut solo album The Good Things, which featured a mix of folk, early electric blues, & '60s beat influenced rock 'n' roll.

                                      It's a template that she's honed over the course of 13 solo albums, along the way impressing celebrity fans such as Jim Jarmusch (Holly's track “Tell Me Now So I Know” featured as the main title theme in his Broken Flowers movie), and most notably Jack White who duetted with Holly on “It's True That We Love One Another”, the final track on the classic White Stripes album Elephant.Though it's been 11 years since her last solo album, Holly's been busy as half of blues/Americana duo Holly Golightly & The Brokeoffs (The Brokeoffs being multi-instrumentalist Lawyer Dave). The pair have released a string of well received albums, and undertaken many tours on both sides of the Atlantic.

                                      Harald Grosskopf is best known as drummer in the band Ashra and for Klaus Schulze and as an electronic musician. Following “Synthesist” (1980), “Oceanheart” was his second solo album. It may sound like a child of the 1980s, but in a compositional sense it is related to the Berliner Schule / Berlin School of the 70's
                                      Tired of the rock format and excited by the freedoms promised by electronic music, Harald Grosskopf quit Wallenstein, a conventional rock band, in the mid-seventies to turn his attention to electronica. Grosskopf thus became the first drummer to specialize in the electronic music field. He played drums on Klaus Schulze’s albums “Moondawn” and “Body Love” and on YOU’s “Electric Day”. When Manuel Göttsching from Ash Ra Tempel asked him if he would consider enrolling as the regular drummer in the group now rechristened Ashra, he did not need to think about it for long. Grosskopf changed course again in the eighties, this time in pursuit of commercial success: he played in the NDW (Neue Deutsche Welle) group Lilli Berlin and backed Joachim Witt on his best-selling “Silberblick” LP, which featured the hit “Goldener Reiter”.

                                      Sky, the record company, were more than a little disappointed with the performance of Grosskopf’s first solo effort “Synthesist”, so there was no great sense of urgency as far as its successor was concerned. “They even halved my advance!” Grosskopf recalls. “Oceanheart” was released some six years after “Synthesist”. “The album title reflects my love of transcendental meditation, of course it might be taken for watery esoterics.” (A similar vibe was evident in the cover art, hence fresh artwork has been created for the reissue.) Musical equipment for the production was limited by the label’s ongoing thrift programme. The first “Oceanheart” recordings took place “under the roof” in the Lilli Berlin Studio, Kreuzberg. They were completed at the Spandauer Studio by former Tangerine Dream member Christoph Franke. “We mixed everything down and recorded the drums there.” Harald Grosskopf again played everything himself, except for the tablas. In keeping with its predecessor, “Oceanheart” was no bestseller, but, like “Synthesist”, it attained cult status, rediscovered in recent years through the internet by a younger generation. Harald Grosskopf himself needed time to appreciate the work: “I only really discovered the musical quality of ‘Oceanheart’ years later. I finally realized that I had created something quite special.” - Christoph Dallach

                                      Harald Grosskopf & Eberhard Kranemann


                                        Harald Grosskopf and Eberhard Kranemann transmit cosmic sonic visions of today, tomorrow and beyond in one of the most exciting collaborations in recent years. Harald Grosskopf played on the early Klaus Schulze albums and recorded with Ashra..  Eberhard Kranemann co-founded the electronic bands Kraftwerk, NEU!

                                        FORMAT INFORMATION

                                        Vinyl comes with CD version of the album enclosed.

                                        London-based post-punk four-piece, H. Grimace release their debut album ‘Self Architect’, via Opposite Number.

                                        Their debut album follows on from 2015’s sold out ‘I Am Material’ tape and the critically acclaimed ‘Royal Hush’ 7”, which came out last year. ‘Self Architect’ reveals a sharper and more empathic feel to the band’s already relentless output.

                                        Made up of Hannah Gledhill (vocals/guitar), Marcus Browne (guitar), Corin Johnson (bass) and Diago Gomes (drums), H. Grimace masterfully hone in on their part shoegaze, part post-punk compositons on their upcoming debut. The foundations of which are laid by the integral guitar pairing of Marcus Brown and Hannah Gledhill, from Yorkshire and Melbourne respectively.

                                        Singer Gledhill's vocals and lyrics are self-reflective and question contemporary social pressures to do with image, work, power and our connection to the land. The collaboration in the album's opening track '2.1 Woman' features poet and artist Vivienne Griffin who critiques the constant pressure exerted on women to create better and better versions of themselves.

                                        These new songs have been recorded with long standing engineer and friend Rory Attwell and mixed by both Rory and Ben Greenberg, formerly of ‘The Men’ and currently in Sacred Bones-signed Uniform, who the band met and found an instant affinity with on their extensive US tour last year. H. Grimace will be bringing their vigorously captivating live show to the UK this year.

                                        He was known as a traditional singer-songwriter, acoustic guitar and vocals, French cousin to Will Oldham and Jason Molina. Then, he became the leader of a rough and enraged band who recorded Off the Map, an electric storm of a record, with Steve Albini (Nirvana, PJ Harvey…), at the legendary Electrical Studio in Chicago.

                                        But the truth is we hadn’t seen anything yet. H-Burns is back with a new album that proves once more that it’s possible to reinvent yourself endlessly while staying true to yourself. Calmer, more pop, cleaner, more Californian, but still as anxious and sorrowful, Night Moves was produced by the all too rare Rob Schnapf (who produced Beck, Elliott Smith and Guided By Voices’ greatest albums) with musicians as prestigious as A.A Bondy and Troy von Balthazar.

                                        The result: 11 songs orchestrated around one main theme: night-time in Los Angles. A restless and troubled night with the insidious threat of an earthquake lurking in the shadows. There are ghosts there too, those of Elliott Smith, Brian Wilson, Neil Young, Roy Orbison and Bruce Springsteen.

                                        H. Grimace

                                        Royal Hush / Excavations

                                          Acting as the first release since 2015's sold out “I Am Material” tape, “Royal Hush” reveals a sharper and more emphatic feel to the band's already unrelenting output. These new songs have been recorded with long standing engineer and friend Rory Attwell and mixed by both Rory and Ben Greenberg formerly of ‘The Men’ who the band met and found an instant affinity for on their 30 date US tour last year. H. Grimace’s integral guitar pairing of Marcus Browne and Hannah Gledhill now masterfully hone in on their part shoegaze, part post-punk compositions which lays the foundations for the enigmatic duo, from Yorkshire and Melbourne respectively, to make their mark this year with a vigorously captivating live show to match. (For fans of Pixies, Blonde Redhead, Deerhunter, Women Body/Head)

                                          Ha Ha Tonka

                                          Buckle In The Bible Belt

                                          Mixing lonesome four-part harmonies and high energy rock, Ha Ha Tonka carves out a sound that conveys a sharp sense of place. Ha Ha Tonka's lyrics replicate the paradox that exists in the Midwestern Bible Belt that they know so well, where the realities of meth use, strip clubs, socio-economic hardship, and backwoods prejudices meet the literal interpretations of biblical story-tellers. This Ozark milieu creates some contradictory notions, but also some of the most poignant folk and gospel musical traditions in the nation's history.

                                          Robert Haagsma

                                          Passion For Vinyl (A Tribute To All Who Dig The Groove)

                                            Brazilian superstar Ed Motta came to Holland to buy an apartment, but spent all his money on vinyl instead. When a young Mikael Åkerfeldt of Opeth discovered a scratch on his recently bought Bathory LP he demolished his bedroom. It’s Atlantic’s CEO Craig Kallman mission to own all relevant albums on vinyl. He has 750.000 already. That’s what vinyl does with music lovers.

                                            In Passion For Vinyl a wide selection of DJ’s, musicians, label owners, designers, record dealers, collectors and engineers like Henry Rollins, Bernie Grundman, Hans Pokora, Chris Ellis, Steffi, Mala, Vaughan Oliver, Lee Dorrian, Jacco Gardner, John Dyer Baizley and many others share their unconditional love for vinyl. They muse about the first record that changed their lives, talk about their prized collectibles and explain why they were determined to keep vinyl alive. Passion for Vinyl also tells the history of Record Industry, the Dutch factory that has been pressing vinyl since the 1950’s.

                                            This book is a tribute to vinyl, a format that is making a spectacular comeback recently, although for many music lovers it never really disappeared.

                                            Passion For Vinyl is written by Dutch author, music journalist and incurable vinyl fanatic Robert Haagsma. With an introduction by American vinyl guru Michael Fremer.

                                            FORMAT INFORMATION

                                            Hardback Book Info: 240 page hardback book. Individually numbered, with free 7” single

                                            Den Haan are built for the rhythms of the night. Their debut album “Gods From Outer Space” embodies the spirit of seedy 70’s basement dives, a deco-greco roman blur of glistening bodies and dazzling lights, Criso on the wrists, spunk in the dark corners, sweat condensed on every surface while machine-made rhythms from some far-away disco planet send shockwaves of ecstasy across the dancefloor. Their rhythms are dark, electronic, tribal, with vocals hewn from Anvil or Van Halen rather than from Donna Summer.   They are popper-soaked macho guys barking out tales of stalking the night, cruising for kicks, backed by a chorus of booming sado-cybernetic vocoders. And there ain’t no Divas in the Den Haan sound – save maybe for a terrifying 26 stone dog-shit eating drag colossal know as Divine.
                                            The duo of Matthew Aldworth and Andy Gardiner bonded over their passion for sounds born during a short period in the evolution of soul and funk at the end of the 1970’s when producers and artists were breaking ground in new forms of disco production.  Den Haan’s compositions pay homage to these producers, Celso Valli (Azoto and Tantra), Franco Rago & Gigi Farina (behind the ‘Lectric Workers releases), the experimental excursions of Vangelis, the homo-disco cybernetics of Patrick Cowley and the atonal alienation of the soundtracks of John Carpenter  and Claudio Simonetti. Sourcing original instruments and production equipment the duo sweat it out in the studiostriving to re-create as close to a version of this original approach to sound creation as possible. This commitment to process brings not only an authenticity to the productions but also to their explosive live performances.
                                            “Gods From Outer Space” takes the listener on a journey through Den Haan’s fictitious universe;- titles like “Release The Beast” and “Nightshift” conjour up the sweaty nightclub scenes from “Cruising” all hyper-macho swagger and pungent sexuality, “Gods From Outer Space” recalls the endless cheap laser blasts of 80’s sci-fi also-rans, the pompous faux religiosity of concept prog synth albums,  while interludes like “The Arrival” and “The End” give a short breath of contemplation – BBC Radiophonic workshop interludes reflecting the dichotomous dystopia/utopian divide in their film soundtrack influences - before you are propelled back into an exhilarating votex of flesh and fantasy.   The music may seem to have a parodic quality, an in-built “cheese” factor - but that is resolutely not its intention.  Den Haan are deadly serious in celebrating their musical influences.  Its camp undoubtedly, but HIGH camp. Theirs is an aesthetic hip enough to appreciate trashy genius whilst simultaneously in awe of the craft and imagination that was employed to create it. This isn’t just a game, it’s a ridiculous reality.

                                            “equal parts leather, amyl nitrate, Mr Flagio and Bobby O” – Guardian Guide

                                            “forget Italo, this is Macho Disco” - DJ Mag

                                            “there are still those who can deliver synth disco’s high camp drama without life-sapping irony or inanity” – The Wire

                                            The Hacienda

                                            FAC51 - Messenger Bag

                                              FAC51 Hacienda Logo messenger bag with shoulder strap. Holds 7" / 10" singles (but not 12"s), A4 box files, laptops, tablets etc.

                                              The Hacienda

                                              Hallucienda T-shirt - Black

                                                Julian Morey came up with the Hallucienda design for a poster when he was working for Peter Saville Associates. 

                                                Hallucienda was a Monday night event at the Hacienda. The name of the night was Anthony Wilson's idea. The image is a photo of a pollen grain. T-Shirts were also produced of the design - the first run were long sleeve black T's (it was the Madchester era after all!) with the Halluçienda logo printed on the sleeve. These new t-shirts feature the logo and image on the front chest.

                                                Indie favourite Marika Hackman is back with her second studio album released from new home AMF Records (Loyle Carner). The album sees a transformation into a gutsier sound packing a real punch with The Big Moon as the backing band. The artwork for the LP & CD features an impactful gatefold design by artist Tristan Pigott.

                                                FORMAT INFORMATION

                                                Coloured LP Info: Limited Edition Indie only Limited LP.

                                                Coloured LP includes MP3 Download Code.

                                                LP Info: Black vinyl edition.

                                                LP includes MP3 Download Code.

                                                Hackney Colliery Band / Henri-Pierre Noel

                                                All Of The Lights / Diskette - Scrimshire / The Reflex Remixes

                                                  THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                  Wah Wah 45s are proud to present their debut Record Store Day special release!

                                                  Local Talk welcome the Cologne-based producers Hade & Gutta to the family. Their debut release marks a further development of the Local Talk sound, balancing between house and bass.

                                                  The EP kicks off with "Nothing Wrong", a track built around a compressed but bouncy bass line that adds extra funk and weaves around a clever vocal splicing. It's got me dancing already!

                                                  "In Me" goes deeper, keeping the beats on the slammin' side, but with ingenious stabs and warmer pads / vox. Ending the EP is Hade's solo number "Baphome". A bass-fuelled floor packer with nicely interwoven synths and a hypnotic house groove that remains present throughout the track.

                                                  A garage-esque belter with the right amount of wobbly bass to satisfy all your DJ and dancefloor needs.

                                                  Third Man Records is proud to present the debut album from The Haden Triplets. These are songs steeped in history and sung in a close harmony that could only be achieved from sharing a lifetime of sisterly togetherness and a near psychic vocal interplay that can only come from being born mere seconds apart from each other. It’s been rendered and produced beautifully by American music legend Ry Cooder.

                                                  This is an album expanding on an American musical tradition. It is not pastiche or a tribute, but rather a direct antecedent and extension of the original folk legacy that is being exhibited within these songs.

                                                  Here’s a little more about it in the Haden’s own words.

                                                  During our early life, we were surrounded by music on both sides of our family. We visited our dad’s family in Missouri, where they taught us old country songs they used to perform on the radio as The Haden Family. Our grandparents on our mother’s side used to sing us to sleep with old Yiddish songs. Growing up, we often had music playing in the house, whether it be our mom playing Billie Holiday and Nina Simone records, or our dad playing Keith Jarrett and Ornette Coleman in the living room.

                                                  We met Ry when we played with his son Joachim, and Joachim asked him if he’d sit in for our show. Once Ry heard we were singing “Voice From On High” by Bill Monroe, he was in right away. The next day we got a call from Ry suggesting we record an album. We wrote down a collection of songs we all liked, then narrowed it down to the music that became the Haden Triplets album. These songs are rich in history, and by recording them we hope to help keep them alive. – Tanya, Rachel & Petra Haden

                                                  • Produced by Ry Cooder (Buena Vista Social Club, Captain Beefheart’s Magic Band, Paris, Texas)

                                                  • Mixed by Martin Pradler (Robbie Robertson, Mavis Staples, Buddy Guy)

                                                  • Covering songs originally by the Carter Family, Nick Lowe, Bill Monroe, the Louvin Brothers and more..

                                                  Naar continues to show its pedigree for hybrid music with James Hadfield (one half of Lizards) dropping a killer release on the label which straddles the lines between 'techno drive & cinematic pathos' (come again?!) on the track "Buried Answers". Now now now, I thought WE, here at Piccadilly were the kings of new genre tags but 'techno drive & cinematic pathos' is stretching it even by our standards. What culminates quickly through the track's audio signal is an expertly constructed techno-garage hybrid roller which also pays tribute to Kraut's deep repetition and concentric groove. Anyway, ditch the sales notes and have a listen it's ACE! Jamie Blanco takes the track into vintage acid house / warehouse territory, adding a clickity bass drum and drawing out the melodies into a more 4/4-friendly fashion; achieving a moment of post 3AM-smoke cloud bliss that's as much New Order and Severed Heads as it is Marshall Jefferson and Sleazy D. Hadfield returns on B-side cut, "Literate" - another unfathomably well pieced together, mechanized groover that'll keep pitch black warehouses bobbin' and noddin' as well as making the perfect soundtrack to late night car drives. Tiago takes charge for the final furlong as he transforms "Literate" into a tense and eerie, technoid growler - again with the warehouse in mind as he plunges us into pitch black oblivion.

                                                  Haemostatic Picnic Races

                                                  Helios! These Are Instructions

                                                    FORMAT INFORMATION

                                                    CD Info: Limited edition - 500 copies only.

                                                    Exemplary synth-work here on Alessandro Cortini's Make Noise Records. Barry's handily filled me in on the concept here: the 'Make Noise' modular synthesizer has been developed by Cortini himself, and for the label he invites various producers to come and test the piece of kit, the results forming the individual releases on the label. What a concept! And the music's not half bad either....

                                                    For number nine in the series we see Bana Haffer step up to the dials and patch leads. "Endo" begins in a wash of low end drone, stepped frequency shelves jarring and shifting the orientation in different directions. After a couple of minutes the celestial arpeggios slowly start to converge on the mix, floating from overhead and glistening like plasma droplets as they drip viscously into the electrostatic soaked stems. As you'd expect, Haffer gets deeper and deeper into the controls as the track progresses, resulting in a truly cranium splitting exercise in modular synthesis and angelic patch bay programming! Honestly, this is the some of the most advanced and pleasurable synth work I've heard for ages (Barry agrees...). "Exo", begins its exercise with high pitched metallic rings and randomized mechanics, twisting some stuttered vox inside out through a series of envelops and grain reassembly. Slowly more epic, edge-of-your-seat synth patterns and sequences are introduced, steadily elevating the track closer and closer to the cosmos. A must for synth and modular heads, not to mention anyone with a penchant for the abstract, modern and experimental. Bana Haffer and Make Noise are truly pushing the envelope here, a source of inspiration for patch bay tweakers across the universe; highly, highly recommended!

                                                    Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve
                                                    and Matte Jacket w/ photography by Moe Espinosa and layout by Sean Curtis Patrick..

                                                    Written and composed by Moe Espinosa aka Drumcell

                                                    STAFF COMMENTS

                                                    Matt says: Gonna get my stake in this before Barry big knobs comes through with his modular cru. This my friends, is the dogs bollocks. Face melting? Conciousness disolving!

                                                    Hafler Trio

                                                    An Utterance Of The Supreme Ventriloquist

                                                    "An Utterance Of The Supreme Ventriloquist" was originally issued by Soleilmoon in 1996 in a hand-numbered edition of 451 clear vinyl LPs. Now, nine years later, it's being released for the first time on compact disc. "Utterance" consists of two 21-minute pieces, "Placing The Seed" and "Seeding the Place". It's a psychedelic head-trip that reaches a similar plane of consciousness occupied by Nurse With Wound. The material has been completely remastered for maximum digital appreciation, and is presented in a deluxe embossed folder with lavishly printed inserts, all wrapped in semi-transparent paper.

                                                    Jascha Hagen

                                                    Soldier / Harlem

                                                    Stamp make a welcome return to discerning record bags everywhere with this superb two tracker from Germany's Jascha Hagen. After tripping us out with the full blooded psychedelia of his "Pan That Shit Out" EP, the producer takes the opportunity to pay homage to an Afrobeat pioneer and a certain female jazz instrumentalist from the famed Blue Note catalogue. Pitched down and spaced out, A-side cut "Soldier" offers a creative edit of a politically charged Nigerian anthem from the mighty Fela Kuti. This slow burner keeps you locked in with instantly recognisable keys, subtle guitar licks and a rolling bass line that will even make the stiffest necks nod in solidarity. It's all about the late summer sun on the flip as Jascha gets deep into the groove of Bobbi Humphrey's "Harlem River Drive", taking the jazz-funk anthem and adding extra instrumentation to create a subtle 2015 update. The open minded producer showcases a different side to his production style with two surefire edits that will work wonders wherever they're played.

                                                    Neil Michael Hagerty & The Howling Hex


                                                      Neil Michael Hagerty leads The Howling Hex back out into the sunshine for the first time since ‘The Best Of The Howling Hex’ back in 2013. Since then they have refocused on the immediate pleasures found within the writing and playing of a single song. This direction, explored in a pair of limitededition singles released over the past two years, reaches a populist zenith on the new album, ‘Denver’, in which an entire community and geographic region are tapped for their energy, the celebratory pulses of which feed the new music of Neil Michael Hagerty & The Howling Hex.

                                                      To achieve this effect in the ultimately democratic conception of The Howling Hex’s New Border Sound, Neil cranked up his guitar-playing to dominant levels that recall his playing in Pussy Galore and Royal Trux. Coupled with the beats and, at times, requiring different inflections from the beat, Neil’s howling guitar sounds elevate the music of ‘Denver’ to an ecstatic communal expression, the likes of which will no doubt massage pleasure centres in the make-up of modern popular music listeners.

                                                      Neil Michael Hagerty & The Howling Hex

                                                      Live At Third Man Records

                                                        Neil Michael Hagerty is best known as the laconic frontman of 90s noiseforward
                                                        rockers Royal Trux. Back in September of 2016, NMH and The Howling
                                                        Hex showcased an off-kilter garage stomp fused with avant-blues aggression.
                                                        The two songs presented here are the surest insight into the mind of someone
                                                        who helped redefi ne rock ‘n’ roll by completely destroying it, but has since
                                                        settled into more cogent outbursts.
                                                        • Hometown: Washington DC / Denver, CO
                                                        • Recorded September 23, 2016 in Third Man’s Blue Room

                                                        Neil Micheal Hagerty

                                                        Neil Michael Hagerty

                                                        Debut solo release from ex Pussy Galore / Royal Trux fella. In Neil’s own words: - ‘Every song is about someone I have met in my travels over the years, and I’ve met a lot of people, so I have plenty of material in store (watch your step, pal.) Your parents will hate it, but your grandparents might like it if they’re dead and floating around.’

                                                        Paul Haig

                                                        At Twilight

                                                          At Twilight is a compilation of picked tracks recorded for Crepuscule by iconic Scottish singer-songwriter Paul Haig, who first made his name as the frontman of legendary Postcard Records guitar slingers Josef K.

                                                          Between 1982 and 1991 Paul Haig recorded a string of polished dance-pop singles for the label, including singles Justice, Heaven Sent, Big Blue World and Love Eternal, along with parent albums Rhythm of Life, Warp of Pure Fun and Coincidence Vs Fate. The various producers and collaborators featured on this ‘best of’ selection include Alan Rankine, Cabaret Voltaire, Bernard Sumner, Mantronik, Lil Louis, Alex Sadkin and Man Parrish.

                                                          Disc 1 collects together stand-out singles and album tracks from Paul’s decade at Twilight. Disc 2 includes all nine tracks from his lost second studio album from 1984, recorded with Alan Rankine of The Associates, but never before released in complete form. “It was meant to be more eclectic than the first,” explains Paul today, “although it didn’t necessarily turn out that way. Still, I never consciously tried to write hit records. I think you’d lose all credibility if you thought that way.”

                                                          Cover portrait by Charles Van Hoorick. Booklet includes archive images and track by track commentary by Paul Haig.

                                                          Metamorphosis is a comprehensive compilation of singles, sessions and embryonic experiments recorded by Paul Haig between 1981 and 1982, spanning the end of cult band Josef K and the beginning of his polished pop solo career.

                                                          Disc 1 gathers together various singles recorded for Crepuscule in 1982, including Running Away, Justice, Blue For You and the EP Swing In 82, the latter a bold foray into Sinatra territory. The extended 12” versions of Running Away and Justice appear here on CD for the first time, along with compilation tracks such as Mad Horses and Christiania, and rare demo versions of Luck and On This Night of Decision.

                                                          Disc 2 features several projects recorded as Rhythm of Life, including four tracks recorded live on a Crepuscule package tour in February 1982, and two rare RoL singles on which Paul collaborated with infamous artist Sebastian Horsley, and fellow Edinburgh musician Stephen Harrison. Also included are all eight tracks from Drama, a DIY cassette of experimental electronica issued by Paul in 1981.

                                                          Cover art by Benoit Hennebert. Booklet includes archive images and track by track commentary by Paul Haig.

                                                          Lemon Jelly's Fred Deakin gets messy with the lead track from post-punk legend Paul Haig's most recent album, turning it into a relentless indie dancefloor monster. Plus we also get an unreleased B-side on a more laidback electronic tip verging on the Balearic. This is the first in a series of six seven inches.

                                                          FORMAT INFORMATION

                                                          Ltd 7" Info: Limited 7" packaged in a ridiculously lavish hand screenprinted, foil embossed die-cut sleeve. 500 copies only.

                                                          Robert Haigh

                                                          Creatures Of The Deep

                                                            A new album of piano driven ambient music from British composer Robert Haigh. Following in the path of his albums for the Japanese Siren label, Creatures of the Deep is an underground vantage of a meeting between the musical worlds of Harold Budd and Erik Satie. With a storied musical career that has ranged widely in style — from his industrial-avant-garde works on Nurse With Wound’s United Diaries label as SEMA to his legendary ambient drum and bass records as Omni Trio on Moving Shadow — Robert Haigh's work occupies a space between music and mystery. With Creatures of the Deep, Haigh is at the peak of his powers. Among noir, minimal, neo-classical landscapes are robust scatterings of bright reflection and a musical expression that is subtle and elusive yet uniquely Haigh’s in its voice and masterful execution. The closer we examine, the more is revealed, and the less is defined.

                                                            FORMAT INFORMATION

                                                            LP includes MP3 Download Code.

                                                            Following a series of LA based studio sessions with producers Ariel Rechtsaid (Major Lazer, Vampire Weekend, Usher) and James Ford (Arctic Monkeys, Florence & The Machine, Simian Mobile Disco), San Fernando Valley sisters HAIM have emphatically taken all the strengths of their live shows and transformed their songs into nuggets of golden pop.

                                                            ‘Days Are Gone’ is a record that wrestles with that early live potential and fully realises it, showcasing the breadth of their collective and individual talents. Having performed live together on stages from a very early age, it’s that innate understanding of each other’s musicianship that acts as both the strength and catalyst behind everything the band do.

                                                            Plenty has already been made of the band’s R&B influences, but it’s a shimmering guitar-fuelled, West Coast pop that surfaces across the 11 tracks on the LP. Sharing all the songwriting between themselves, ‘Days Are Gone’ is a record that features songs that stretches right back to when the band first formed ('Forever', 'The Wire', 'Let Me Go'), and songs written in the latter stages of 2012.

                                                            Opening on their 2013 Spring EP release ‘Falling’, it’s smartly followed by the song that introduced them back in March 2012, ‘Forever’. ‘The Wire’, a huge live favourite and forthcoming single, receives a slick production but loses none of the energy and passion that makes it so enticing on stage.

                                                            The sultry ‘If I Could Change Your Mind’ is the first of four brand new songs that HAIM are yet to have aired live, ‘Days Are Gone’, ‘My Song 5’, and ‘Running If You Call My Name’. Another regular live track, ‘Honey & I’ is one of the many standout tracks on a record that is more than simply the sum of its parts.

                                                            STAFF COMMENTS

                                                            Philippa says: 'Tango In The Night' era Fleetwood Mac, the Bangles, Prince, Madonna and Debbie Gibson all mashed together in a west coast soft-pop shimmer.

                                                            Following the UK platinum debut album Haim’s highly anticipated new album ‘Something To Tell You’ will be released on July 7th, they announced the release of ‘Something To Tell You’ with an in-studio video version of album track ‘Right Now,’ which was shot and directed by Paul Thomas Anderson (Magnolia, Boogie Nights). HAIM released ‘Want You Back,’ the first official single from ‘Something To Tell You’, which Pitchfork awarded Best New Track saying “Whiplash is starting to feel like a theme of pop in 2017” going on to praise “Haim are pulling the rug out from under our feet in the run-up to releasing their second album.”

                                                            FORMAT INFORMATION

                                                            2xLP Info: 2 LP set pressed at 45 RPM on audiophile quality vinyl. Includes bonus track and digital download.

                                                            Luke Haines goes electronic, with an album was recorded using entirely analogue synthesizers.

                                                            A concept album set in the future where Great Britain has retreated to a vast and secret network of abandoned nuclear bunkers and prays to a piece of silverware, referred to as the 'New Pagan Sun'.

                                                            “Rock And Roll Animals” is a psychedelic story for grown-ups (and children). Jimmy Pursey is a frisky fox; Nick Lowe – a solid badger and Gene Vincent – a cat who's seen a bit more of life than most of us. Three furry freaks. Three Rock n Roll animals. The fable of our four-pawed shamen is narrated by the good folk of Magic Town.

                                                            This is a story of righteous rock n roll and how our three rock n roll animal friends, when not frolicking in the undergrowth, do battle with their most unrighteous nemesis – a fuck ugly bird (from Tyneside) made of steel and wire called The Angel Of The North.

                                                            “Smash The System” is the first non-concept solo album by Luke Haines (The Auteurs, Baader Meinhof and Black Box Recorder) in six years.

                                                            Smash The System follows on from such critically acclaimed works as “Nine and a half psychedelic meditations on British wrestling from the late 1970s and early '80s” (2010), “New York In The '70s” (2014) and last year’s electronic “British Nuclear Bunkers”.

                                                            Think “Hunky 'Dory” or Sabbath's eponymous debut played on pixiephones and Moog, Graham Bond Organisation and Haines' own 1996 classic “Baader Meinhof”, Or Sunn 0))) at the school disco with tunes.

                                                            “Smash The System” pays homage to Marc Bolan, Vince Taylor, The Incredible String Band and Morris Dancing to name just a few as Haines makes a melodious return to his rock ‘n’ roll roots… 'Do you like the Monkees?' 

                                                            Luke Haines

                                                            I Sometimes Dream Of Glue

                                                              It started sometime after World War II – in the late 1940's. A convoy of British Special Services trucks had been dispatched to RAF Middlewych, their cargo - 10 tonnes of experimental solvent liquid. Sticky and deadly. The mission – to drop the toxic liquid over Germany and finish the job of carving up Europe for good. The trucks never made it to their airfield destination, coming off the road – most probably helped by saboteurs – some five miles out of London… 'I Sometimes Dream Of Glue' is the next solo concept album by Luke Haines (The Auteurs, Baader Meinhof and Black Box Recorder). Just off the Westway, in the motorway sidings, you can see a small sign. Actually you probably can't see the sign as it is the size of a child's fingernail clipping. The sign says 'Glue Town.' The name of a village. There is little or no documentation of Glue Town. You will not find any information about it on the 21st Century internet. Gluetown is a rural settlement born out of mutation. Of the estimated 500 or so dwellers, no one is thought to be over 2 ½ inches tall. The citizens of Glue Town exist on a diet of solvent abuse and perpetual horniness. The residents only leave to carry out daring night-time 'glue raids' on Shepherds Bush newsagent shops. On a tiny screen in the town centre, an old Betamax cassette of 'Michael Bentine's Pottytime' plays on a loop all day and all night...

                                                              Luke Haines

                                                              Is Alive And Well And Living In Buenos Aires: Heavy Frenz The Solo Anthology 2001-2017

                                                                Having played with The Servants in the late 1980s, Luke Haines carved a unique niche for himself in the 1990s with witty lyrics, wry humour and some stellar tunes with The Auteurs and other acts (Black Box Recorder, Baader Meinhof).

                                                                By 1999, feeling aghast at the state of the Brit Rock scene in the UK, Luke decided to “start a righteous solo trip”, having been commissioned to write the soundtrack for the film Christie Malry's Own Double Entry (2001). Sticking with Virgin Records, Luke then unveiled his first solo album proper, The Oliver Twist Manifesto, before fronting a new-look Auteurs for Das Capital.

                                                                In due course, Luke switched labels to indie Fantastic Plastic for Off My Rocker At The Art School Bop (2006), followed in 2009 by 21st Century Man. Since then, he’s curated a string of imaginative, amusing and always worthwhile albums for Cherry Red Records.

                                                                Alive And Well… is the first-ever anthology of Luke’s solo work, cherry-picking musical highlights from each of his long players as well as a smattering of B-sides, radio sessions, rarities and – on Disc 4 – a raft of previously unissued material.

                                                                With sleeve-notes by Luke himself, Alive And Well… is a very personal statement spanning the last two decades of the musical life of Luke Haines.

                                                                Luke Haines

                                                                Christie Malry's Own Double-Entry OST

                                                                Film soundtrack from former Auteurs frontman Luke Haines. The soundtrack reflects the thoughts and actions of a lone terrorist who was inspired by a monk / accountant from Renaissance Italy to take revenge against those who crossed him - starting by scratching the paint off expensive cars and climaxing with the death of thousands of people.....

                                                                Keiji Haino & SUMAC

                                                                American Dollar Bill - Keep Facing Sideways, You’re Too Hideous To Look At Face On

                                                                  SUMAC, the trio of Aaron Turner (ISIS, Old Man Gloom, Mamiffer), Nick Yacyshyn (Baptists, Erosion) and Brian Cook (Russian Circles) present their first collaboration with Japan’s cultural provocateur Keiji Haino. 
                                                                  Japan’s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his freeform musical improvisations and diverse collaborations. Whether deconstructing American blues to a few rogue notes hanging across chasms of empty space in his solo endeavours, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O’Rourke, Stephen O’Malley, John Zorn and Peter Brötzmann for fleeting aural experiments. Haino’s work is never preplanned or structured but rather a completely spontaneous exploration of chemistry, texture and dynamics.

                                                                  SUMAC’s tenure is much younger than Haino’s, though guitarist / vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations, from the sedated drones of recent projects with Daniel Menche and William Fowler Collins to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved
                                                                  the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

                                                                  Throughout the course of its hour-plus length, ‘American Dollar Bill’ pushes and pulls at the strictures of metal and bends the stylistic formalities of improvised music to create a sonic purge unencumbered by convention.

                                                                  FORMAT INFORMATION

                                                                  2xColoured LP Info: 2xLP pressed on virgin vinyl, packaged in a wide spine jacket printed on uncoated stock with custom slipcase also printed on uncoated stock with
                                                                  metallic ink and free download card. Very limited translucent red vinyl

                                                                  2xLtd LP Info: 2xLP pressed on virgin vinyl, packaged in a wide spine jacket printed on uncoated stock with custom slipcase also printed on uncoated stock with
                                                                  metallic ink and free download card.

                                                                  CD Info: CD packaged in a 4 panel mini-LP style gatefold jacket printed on uncoated stock with metallic ink and 4 panel booklet.


                                                                  This Dazzling, Genuine "Difference" Now Where Shall It Go?

                                                                    With This Dazzling, Genuine "Difference" Now Where Shall It Go, Black Truffle presents the 8th fulllength release from the trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi. Over the course of four LP sides, the October 2014 concert documented here ranges from rock power trio dynamics to maelstroms of analogue electronics. Once again, the three demonstrate their commitment to pushing into new areas of instrumental exploration and group interaction. Where previous releases from the trio have often featured extended vocal workouts from Haino, at times suggesting abstracted folk song, Haino’s vocalizations here are restricted to the occasional impassioned cry, putting the focus squarely on instrumental interplay. More than ever before, this feels like the work of three equals, with O’Rourke or Ambarchi taking the lead role as often as Haino does.

                                                                    The four pieces presented here each focus on extended development. The first side is propelled by Ambarchi’s busy, Jack DeJohnette-esque cymbal and tom work, which provides a skittering yet insistent pulse over which Haino and O’Rourke’s FX-saturated strings rise and fall, momentarily converging for passages of near stasis before again pulling apart to continue wandering through areas of gently sour discord; O’Rourke’s use of a six-string bass here boosts the harmonic density of the music and often makes his contribution difficult to distinguish from Haino’s guitar. On the second side, O’Rourke uses his pedals to make his bass near unrecognizable, generating a squelching, harmonically unstable riff that Ambarchi accompanies with a semi-martial snare pattern, the two driving home the idea for the duration of the side while Haino moves between frenetic octave-doubled fuzz riffing and streams of feedback.

                                                                    FORMAT INFORMATION

                                                                    2xLP Info: Stunning deluxe gatefold sleeve with cover image by Traianos Pakioufakis and live action pics by
                                                                    Mike Kubeck.
                                                                    LP design via Stephen O’Malley
                                                                    - Mastered and cut by Rashad Becker at D&M, Berlin May 2017

                                                                    Keiji Haino /Jim O Rourke/ Oren Ambarchi

                                                                    Now While It's Still Warm Let Us Pour In All The Mystery

                                                                      Following on from last year’s acclaimed ‘Imikizushi’ (BT 07), ‘now while it's still warm let us pour in all the mystery’ is the fourth release from the established power trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi, recorded in January 2012 at their yearly concert at SuperDeluxe, Tokyo. While the trio’s two previous double LP releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trio’s interactions, from holy minimalism to cave-man rock.

                                                                      The record begins with the trio joined by special guests Charlemagne Palestine and Eiko Ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to Haino’s angelic vocals. This ten-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from Haino, is steeped in the same mysterious atmospherics as Haino’s great folk-drone project, Nijumu. When Haino turns to the flute on the LP’s second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that Haino has developed from traditional Japanese aesthetics, O’Rourke and Ambarchi transform into the delicate and probing rhythm section of a classic 70s fusion side.

                                                                      When the trio return to the crushing free-rock of their last two records, O’Rourke’s heavily effected bass rolling alongside Ambarchi’s tumbling rhythms as Haino’s guitar squeals and slashes above them, their performances display a new purposefulness and concision. Now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs, O’Rourke and Ambarchi instantly locking into solid riffs over which Haino alternates between jarring no-wave chords, intense soloing and his signature vocalisations. When the trio slow down and stretch out, the rhythm section plods like an abstracted Crazy Horse on the brink of collapse, and Haino elicits long, mournful solos reminiscent of the first classic Fushitshusha double live LP.

                                                                      (Perhaps more accessible than the trio’s previous recordings because of its range and concision, ‘now while it's still warm let us pour in all the mystery’ exudes the dark, alien quality of Haino’s greatest recordings and testifies to the strength of the musical bond that has developed between these three players. Francis Plagne, Jan 2013.

                                                                      Hair & The Iotas

                                                                      Swing Of A Mind / Stardust Special

                                                                        "OK ! This is the real sound ! Straight from the dirty South of France ! Given here and modelled by up-class-rated band HAIR & THE IOTAS in their own WATTHAUS STUDIO, down their home city of Perpignan... This is songs & beat !!! - no inaudible sound magma for some 'm-in-search-of-a-rock-n-roll-identity fundamentalist sect, no vain retro posture, no technical demonstration - HAIR & THE IOTAS
                                                                        are absolute, not extreme. No place here to a pedigree, no useless facts, this is not history yet - just check the web, if you're in need. Maybe grab their previous records on their own WATTSVILLE label. But just don't pass these people by, for someday you'll hear of them as legends."
                                                                        (Paul-Marc De Luigi / Les Maîtres du Son magazine)
                                                                        Linked to the record store of the same name in Perpignan in the deep South of France, Cougouyou Music has a focus on the local scene in Northern and Southern Catalonia.

                                                                        Hair Police

                                                                        Mercurial Rites

                                                                          •Hair Police are Mike Connelly (aka Failing Lights), Robert Beatty (aka Three Legged Race) and Trevor Tremaine
                                                                          •This is their first album since 2008
                                                                          •Cut at Dubplates & Mastering, Berlin, 500 copies pressed

                                                                          Working tirelessly at their craft since 2001, Hair Police are survivors of the rapidly dissolving US noise scene. Made up of Mike Connelly (aka Failing Lights), Robert Beatty (aka Three Legged Race) and Trevor Tremaine – the three Midwesterners have amassed quite a catalog between them, but somehow always hit hardest when they fuse their talents and work together.

                                                                          ‘Mercurial Rites’ is the trio’s first proper full-length since 2008’s ‘Certainty of Swarms’, and in typically obstinate form doesn’t pander to the noise scene’s mass exodus towards the dancefloor. Instead the record is as dirt-sodden and gruesome as the band have ever sounded, and marks an evolution in industrial noise without straying far from their original intentions.

                                                                          They’ve always been a consistent band, but ‘Mercurial Rites’ does a pronounced job in distilling the raw energy of their defining early LP ‘Obedience Cuts’ and fusing it with the disturbing soundscapes of later records ‘Drawn Dread’ and ‘Prescribed Burning’. Tape-saturated bells and gongs push up awkwardly against pounding, funereal percussion and the kind of disembodied screams we last heard on 80s-era Whitehouse sides, and while the result might terrify some, it re-affirms what made the noise scene so alluring in the first place.

                                                                          It’s an unsettling, punishing sound that revels in its own abstraction, yet every clank is meticulously placed, every screech of feedback so pointed that at times you forget the layers of distortion and fog altogether. We’re simply left with sparse vignettes of darkness, and in the empty silence in-between the blasts of synthesizer or white noise there’s more horror than you could possibly imagine.

                                                                          York band The Hair play infectious rhythms splattered with electronics, vibrant indie-guitar stabs and disco drenched bass lines. The songs are brought together by a powerful Cure-esque vocal telling tales of frustrated relationships, weekend apathy and the oft-misunderstood desires of today's youth. Beneath the dancefloor shaking grooves and taut guitars lay smart intelligent pop songs, while live they regularly stun audiences with their percussion-heavy breakdowns.

                                                                          Hairy Hands is a DIY beats/vocals project from singer/songwriter Mr James Bright. His cut-and-paste productions are playful and naive, drawing from influences such as Madlib, Arthur Russell and Benny Sings.

                                                                          Sometimes, a musician has to suppress some of his or her particular tastes for the benefit of a project. In developing the sound of Mr James Bright, production is often taken care of by James' close friends at studios all across the globe. Over the years, however, James' urge to unleash his own monster sound had grown, and after a year in the making, his own sound is ready to be let out of the cage.

                                                                          This is HAIRY HANDS. Fluid rhythms and lavish keys are strewn together to create a blend of beats and wonky folk that is particularly difficult to label. Tracks bounce between chorus and verse, dropping and twisting every few bars; this music is undeniably vibrant. A childlike approach to production, with everything and anything sprinkled from start to finish, causes the finished product to sound beautifully naive. There are no limits here, each track will get you in a headlock and re-arrange your perception of groove. Goodbye Mr.Music Snob, Hairy Hands has just turned your world upside down…

                                                                          Hala Strana


                                                                            “Hala Strana” is a summation of Steven R. Smith's interest in the traditional folk musics of Central and Eastern Europe. By incorporating the melodies, scales, and instrumentation of the village music from areas such as Croatia, Hungary, Romania, the Czech Republic and Poland, Steven has pushed his music into yet another new territory. This is not ethnological preservation, but a starting point. In the same manner from which The Band transformed the sounds of early Americana into their own brand of timeless music, Hala Strana has abstracted these melodies and turned them into something uniquely their own. Like his previous solo work, “Hala Strana”’s richly layered sounds are carefully placed but have a spontaneous feel. Instruments like gourd guitar, clay flowerpots, harmonium, accordion, glockenspiel, violin and even bottles find their way into the mix. Performed on an array of atypical instruments, the songs, all instrumentals, have a magnificent sweep and grandeur but also a Baroque sense of storytelling and commanding introspection, a tension that persistently creates a mood of captivating dislocation. Hala Stana consistently locates the source of their esoteric power, the part that suggests specific cultural heritages. The brilliance of the album lies in where those evocations lead, to what ends they are taken - luxurious, complicated cities of the imagination, landscapes at once tangible and unknowable. Originally recorded in May 2002, this is the first vinyl reissue of the debut full length.


                                                                            Don't Come Running

                                                                            Perfect summer sounds from Hal in the shape of this infectious acoustic pop song from their self titled debut album.

                                                                            FORMAT INFORMATION

                                                                            CDS2 Info: CD2 includes "I Sat Down" plus a demo version of "Mama's Gone Away".

                                                                            Half Church

                                                                            Half Church 1980 - 1986

                                                                              Sometime in the middle of 1980, Tom “Jinks” Durkan ventured to California from Shepherds Bush, London, and settled in Palo Alto. His goal, besides escaping from London, was to find musicians and form a band. Jinks met drummer Bob Gaynor, guitarist Rick Tedeschi, and bass player Monte Vallier and Half Church was born. Following a series of local shows and demos, the original 4 members decided that a move to Jink’s hometown of London was the next logical step. And in January 1981, just as Ronald Reagan was being sworn in to office, the band flew to the UK where a whole slew of songs were written and recorded for their first EP (the highly sought-after “In Turmoil”). The band returned to the Bay Area later in the year and resumed shows and recording, getting tighter as a band all the while. Half Church played their last show at the San Jose Convention Center opening for Red Lorry Yellow Lorry in 1986 and the band members went their separate ways.

                                                                              This is the lead single from the album and sums up in four minutes what the band all about. With their off kilter beats and Scottish roots it's easy to see the Beta Band references that have been made, but Half Cousin have a unique sound as demonstrated on this laid back track full of squelching beats and accordion blasts. The track is perfect for an Earlies remix, which is exactly what you get over on the B-side.

                                                                              Half Foot Outside

                                                                              New Ad Ideas

                                                                              Not frightened to use six minute songs to get their ides across, with their third record, Half Foot Outside are no longer a "new band" and the maturity of ideas is apparant throughout. Their gigs with such bands as Fugazi has given them an edge and the culmination of all this work is "New Ad Ideas", a wonderful record in all senses: a great sound plus a beautiful design with some talented artwork by singer Carlos Leoz.

                                                                              The last of the Fire Records Half Japanese reissue series, ‘Volume 4:1997-2001’ contains 1997s ‘Bone Head’ and ‘Heaven Sent’ (on LP for the first time) and 2001s ‘Hello’. Final volume of four part box set featuring ‘Bone Head’, ‘Heaven Sent’ and ‘Hello’. “Cutting straight to the gut. Jad’s phrasing matches surging sentiments, creating a counterpoint to the spot-on music. When they grind out a groove half-rhythmic/half-blank cadences, the woozy disconnect is oddly compelling” Pitchfork’s Best New Reissue. “This should lay to rest any questions about the importance of Half Japanese. Without them, we wouldn’t have the primitive pop of Beat Happening nor the id-bearing beauty of Daniel Johnston” Paste Magazine // November 2015 sees Half Japanese and Fire Records bring you the final volume of the immense box sets that focuses on releases from the late 90s and early 00s. The final volume of the four-part Half Japanese box set series "Volume 4: 1997-2001" – includes albums "Bone Head", "Heaven Sent" and "Hello". Showcasing a range of experimental pop smarts and noisy punk bite, these albums see the band surrounding Jad Fair's musings on subjects from hopeless monsters to hopeless romantics with everything from sharp melodies to 64 minute work outs, with a Primal Scream cover thrown in there for good measure. Fire’s colossal Half Japanese series began last year with the Record Store Day exclusive of ‘Half Gentleman/Not Beasts’, this set contains the records in their original form and will include original artwork from Jad Fair. Heaven Sent is made available on vinyl for the first time, with the title track originally over an hour long, a special edit brings over 30 minutes to the LP release. High-quality downloads are included in the LP format which includes extra tracks featured in the CD format. 

                                                                              Half Japanese

                                                                              Half Gentlemen Not Beasts

                                                                                THIS IS A RECORD STORE DAY 2013 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                                The Half Japanese debut release ‘Half Gentlemen Not Beasts’ released in a 4LP box set featuring an extra 12” containing tracks not originally available on the debut and extra unreleased tracks. This deluxe set also includes a 32 page booklet, an original Jad Fair poster 30cm x 60cm and a download card. The CD version also contains a third CD containing the extra material not previously available and the 32 page booklet.’ In 1974 Jad Fair, along with his brother David, co-founded the lo-fi alternative rock group Half Japanese. Over the ensuing three decades, Half Japanese released fourteen albums (which are all due to be reissued on Fire Records throughout 2013), and in the process, attracted a solid base of fans passionate about the band’s pure, unbridled enthusiasm for rock and roll. Fire’s reissue series begins with Half Japanese’s first album Half Gentlemen/Not Beasts, a sprawling collection of the Fair brothers earliest home recordings. These stretch their DIY, lo-fi ethos to the limits featuring sound experiments cobbled together from guitar noise, electronics and odd effects, whilst throwing in some barely recognizable covers (such as tracks by The Temptations, Buddy Holly and Bob Dylan). Over the years Half Gentlemen/Not Beasts became something of a cult legend, partly helped by it’s scarcity and foreshadowed much of the lo-fi movement of early 90s indie rock. All Music Guide describes the album like this: “Although they would have you believe that their untuned, almost unlistenable, instrumental clatter is the result of being so enthusiastic that they didn't bother to learn how to play their instruments, it's just the logical, inevitable intellectual extension of Richman's naivete and the Velvet Underground's stripped-down guitar. Half Japanese is consciously primitive.” Fire’s reissue will feature new packaging, artwork, liner notes and designs by Jad Fair himself as well as never released extra tracks. The CD package will include three discs and there will be four LPs in the vinyl boxset version. This rare and much sought after treasure will now be available for all to enjoy and for fans to relish.

                                                                                Fire records followed up the deluxe reissue of Half Japanese’s first album ‘Half Gentlemen Not Beasts’ for last year’s Record Store Day with another deluxe reissue. The first of 4 volumes containing 3 vinyl LPs of the next set of Half Japanese albums is now also available on a 3CD package.

                                                                                This first volume starts with 1981’s ‘Loud’ and also includes ‘Our Solar System’ and ‘Sing No Evil’ to bring them through to 1985. New artwork from Jad Fair adorns the outer sleeve, which also contains a booklet with liner notes by Jad and David. Half Japanese were formed in 1974 by brothers Jad and David Fair. Despite being lifelong music obsessives, their approach to the craft of writing and the art of performing was utterly unique. Heavily inspired by Jackson Pollock, Half Japanese were always more of an art project than a musical journey. More important than technical ability, was enthusiasm and a thirst for creation. They eschewed traditional ways of playing to explore different tunings, allowing them to coax new sounds from their instruments. Their first release, a seven inch, EP called Calling All Girls was more of an art project than a business venture, with nine songs, a poster with inserts and a printed cover. They never really expected it to sell, but much to their surprise distributors quickly gobbled up all 500 copies, so they rushed to repress 500 more and began making plans for a second record. It was well and truly a calling card.

                                                                                Fire Records continues their Half Japanese reissue campaign by bringing you the next three albums in the set, collected as Half Japanese: 1981-1985. In recording the follow-up, entitled appropriately as Loud, the band came into their classic line-up. Consisting of Jad and David Fair, as well as two Saxophonists; John Dreyfuss and Lana Zabko, and guitarist Mark Jickling, with Rick Dreyfuss on drums. Creating a barrage of enthusiasm and manic energy around rock and roll teen anthems and free jazz skronk, the band were well on their way to carving out a unique legacy. Our Solar System would bring further joys as they continue to focus on simple themes of love and romance and dancing with girls amongst the experimental noises sneaking out in the music, creating a soundtrack for a sock hop in an alternate universe. The album also featured covers of Buddy Holly, The Velvet Underground, Chuck Berry and Roky Erickson.

                                                                                Their approach to covers is explained by David Fair: “We have covered many songs but never with the idea in mind of having it sound like the original. In fact, we often took only the words and made no effort, whatsoever, to recreate the melody.” On Sing No Evil, Half Japanese truly came into their own, with their DIY roots blending with free jazz touches to create a raucous indie rock classic. Containing songs like "Firecracker Firecracker" that remain set highlights even today, the band had established a voice like no other. This would be the last record with David in the core line-up, and all of the early records bear his powerful arty and experimental streak. Where would the future take Half Japanese with Jad at the helm? You will have to wait for Half Japanese: 1987-1989 to see.

                                                                                FORMAT INFORMATION

                                                                                3xLtd LP Info: Just found one of these!

                                                                                Half Japanese

                                                                                Half Gentlemen / Not Beasts

                                                                                  In 1974 Jad Fair, along with his brother David, co-founded the lo-fi alternative rock group Half Japanese. Over the ensuing three decades, Half Japanese released fourteen albums (which are all due to be reissued on Fire Records throughout 2013), and in the process, attracted a solid base of fans passionate about the band’s pure, unbridled enthusiasm for rock and roll. Half Gentlemen/Not Beasts is a collection of the Fair brothers earliest home recordings, originally released as a homemade three LP box set. These stretch their DIY, lo-fi ethos to the limits featuring sound experiments cobbled together from guitar noise, electronics and odd effects, whilst throwing in some barely recognizable covers (such as tracks by The Temptations, Buddy Holly and Bob Dylan). ‘Half Gentlemen / Not beasts’ is now available as a 2LP package. 

                                                                                  FORMAT INFORMATION

                                                                                  2xLP includes MP3 Download Code.

                                                                                  With Jad Fair at the helm for over four decades, the highly revered Half Japanese still remain “the ultimate expression of punk’s dictum that rock should be accessible to anyone who wanted to pick up an instrument and play” (AllMusic). Born out of the Fair brother’s lo-fi bedroom recordings of the mid-70’s, they reinvented rock music with their off-kilter view and popular outsider rock. Leading the lo-fi movement of the early 90s burgeoning indie rock scene, Half Japanese’s lasting influence and prolific output has seen them experiment with alternate tunings, chords and melody and in recent years they’ve produced more cohesive offerings. Wildly eccentric and humorous, the energetic ‘Hear The Lions Roar’ is an art rock record where Jad’s expertly thrown out lyrics remain optimistic and fresh alongside a fierce and compelling rhythm section. Featuring a cohort of past musicians from the 90’s, their dexterous instrumentation brings further depth to Jad’s songs. 

                                                                                  FORMAT INFORMATION

                                                                                  Coloured LP includes MP3 Download Code.

                                                                                  Announcing "Overjoyed", the first album in 13 years from legendary punk band Half Japanese. One of the most influential bands of all time, Jad Fair and Half Japanese spearheaded the DIY and Lo-Fi movements, influencing countless bands such as Sonic Youth, Neutral Milk Hotel, Daniel Johnston, and perhaps most notably, Kurt Cobain (who ranked Half Japanese amongst his top 50 favorites, had them open the "In Utero" tour, and was wearing their t-shirt when he died). Without exaggeration, Half Japanese is one of the most important bands in the history of music. "Overjoyed" was recorded and produced by John Dieterich of Deerhoof, and ranks amongst the best albums of the band's catalogue.

                                                                                  STAFF COMMENTS

                                                                                  Darryl says: After 13 years away, Half Japanese return to the scene with 'Overjoyed'. And they prove themselves to be as vital as ever, melodic indie-punk that keeps them ahead of the pack.

                                                                                  Half Japanese is one of the most influential bands in rock history. Founded by brothers Jad & David Fair in 1975, the band is credited with pioneering the DIY and lo-fi movements and influencing everyone from Sonic Youth and Neutral Milk Hotel to Daniel Johnston and Kurt Cobain (who asked the band to open some of the dates on Nirvana’s In Utero tour.) Known for dismissing conventional music basics like melody, song structure and chords (and for Jad’s famous line “the only chord I know is the one that connects the guitar to the amp”), Half Japanese operated under the premise that rock music should be accessible to anyone who wanted to play.

                                                                                  Perfect is a collection of songs that feature otherworldly sounds, chaotic rhythms, and weird time signatures, topped off with Jad’s brash vocals and oddball lyrics. Its tracks run the gamut from sweet love songs with overtly sincere lyrics to manic, almost abrasive tracks that seem to end before you can fully wrap your head around them. With Perfect, Half Japanese manages to combine elements of every genre imaginable into one strange, unpredictable, and undeniably-catchy package. 

                                                                                  FORMAT INFORMATION

                                                                                  Deluxe LP Info: Limited coloured vinyl for UK indie stores only.

                                                                                  Half Japanese

                                                                                  Volume 3 : 1990-1995

                                                                                  Formed in the mid-70s, and setting the standard for post-punk ever since, Jad and David Fair and Half Japanese return with a new volume that finds us twenty years into their story. The 90s would see them under a new spotlight as Kurt Cobain used his celebrity to tell anyone that would listen about their greatness, and had the band tour with Nirvana. They would respond with three of the most wild and varied albums in their career.

                                                                                  Continuing their Fire deluxe reissues of the entire Half Japanese catalogue, Volume Three: 1990-1995 is the third of four volumes containing three LPs/CDs. This next set of Half Japanese LPs begins with 1990’s explosively, noisy and chaotic (sometimes improvised) ‘We Are They Who Ache With Amorous Love’ featuring their cover of the Them garage rock classic “Gloria” and two tracks “Titanic" and "Hand Without a Body” that were co-written with the like-minded Daniel Johnston. Two years later the notably more delicate and, dare we say, jangly, ‘Fire In The Sky’ (1992) arrived at a pivotal time for the group when they gained notable recognition from the likes of Sonic Youth, Nirvana, Teenage Fanclub and Yo La Tengo (whose Ira Kaplan guests on the record).

                                                                                  This highly anticipated third installation closes the trio with 1995’s ‘Hot’ which became MTVs album of the week on release, with Michael Goldbery writing “Hot, mixes Sonic Youth-style noise, Stooges primitivism and ’60s pop with excellent results. “Lucky Ones” is a simply charming number (“A good thing just got better/ As better as better can be”) reminiscent of Jonathan Richman, while “Drum Straight” is dose of feedback drenched skonk and “Vampire” rocks hard liken the Sonic’s “Bull In The Heather.” Fire’s colossal Half Japanese series began last year with the Record Store Day exclusive of ‘Half Gentleman/Not Beasts’, this set contains the records in their original form with extras that later appeared on CD formats available. It will also include original artwork from Jad Fair and liner notes by Half Japanese hall of famer Mark David Jickling. “Cutting straight to the gut. Jad’s phrasing matches surging sentiments, creating a counterpoint to the spot-on music. When they grind out a groove half-rhythmic/half-blank cadences, the woozy disconnect is oddly compelling” Pitchfork’s Best New Reissue (Volume 2: 1987-1989)

                                                                                  “An impressive and well-assembled study of one of this band's more interesting periods” - All Music.

                                                                                  “This should also lay to rest any questions about the importance of Half Japanese. Without them, we wouldn’t have the primitive pop of Beat Happening nor the id-bearing beauty of Daniel Johnston” - Paste Magazine. 

                                                                                  Half Japanese

                                                                                  Why Not?

                                                                                    Half Japanese have returned to peel further layers from their onion. They have a new album that's a square further on in their unpredictable musical snakes and ladders board. ‘Why Not?’ is a magical thing – it’s Springsteen’s ‘Born To Run’ recorded in a cupboard, it’s an ode to love, it’s a Wire song with two duelling guitarists being Zappa on helium, it’s Parquet Courts in a tantrum, it’s The Crickets contorted into? and The Mysterians, it’s everywhere and nowhere, baby, it’s where it’s at. On ‘Why Not?’ nuances are mused, situations explained, questions asked.

                                                                                    Outside, zombies and demons roam and everyday aliens emerge from spaceships: it’s a technicolor film transcribed by Jad Fair and friends John Sluggett, Gilles-Vincent Rieder, Mick Hobbs and Jason Willett, their faces at the cracked window of their subterranean habitat looking out at the real world. They’re on a high from their last release: “After all these years, his wiry voice still hits every song with a shock that’s equal parts joy buzzer and defibrillator, each barely in-key bleat alternating between laughable and life-affirming,” said Pitchfork of their last opus ‘Hear The Lion Roar’.

                                                                                    To which All Music added that “after nearly 40 years of music-making, they're still creating some of the most engaging recordings of their lives, and that's truly something to believe in.” ‘Why Not?’ goes further. It’s an even more intense concoction, it’s further out there. It contains pieces of fluffy thought-provoking music, a bag of sentiments delivered with a real sense of wonderment at how the normal world revolves; all powered with heart and soul, some crunchy guitars, a cello and reverb set-to-kill infiltrating their storytelling. ‘Why’d They Do It?’ quizzes track 11. Because they can. 

                                                                                    STAFF COMMENTS

                                                                                    Barry says: Why not indeed?

                                                                                    'And Some Fell On Stony Ground' is a compilation of Half Man Half Biscuit tracks previously only available on singles and E.P's plus 'David Wainwright's Feet' from the 'Colours are Brighter' charity CD.

                                                                                    Includes all tracks from the now deleted Editor's Recommendation and Saucy Haulage Ballads.

                                                                                    The idea for this came after some bloke from Crickhowell suggested it whilst engaging the band in pleasant chit chat during a fire drill at Norton Canes Service Station.

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                                                                                    STUFF WE HAVE LEFT. Should zoom, quickly depleting but still some killer titles. Get on it. Open till 5pm today.
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