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Howe Gelb

Dreaded Brown Recluse

    THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    1000 only. “A wandering troubadour in search of treasured happenstance, Howe Gelb is an enigma.” The Quietus // Long out of print, Howe Gelb’s debut solo album ‘Dreaded Brown Recluse’ is re-imagined on for Record Store Day on brown vinyl. Back then, circa 1991 Howe’s main squeeze Giant Sand were nothing short of prolific, songs were oozing from every pore, their creative id was effervescing, overflowing. With Giant Sand’s colossal new album of ’91 ‘Ramp’ imminent what to do with those further outpourings? An idea: Disguise the band as Howe Gelb solo and produce a song cycle that, on repeat, melds into an eclectic stew that’s easy to dip in and out of but still remains potent several hours in the oven. It’s music as soundtrack to your day, a playful, anarchic piece of situationism that unfolds like all the best dramatic prose. ‘Dreaded Brown Recluse’ includes a rethunk ‘Warm Storm’ with strings (it also appeared on ‘Ramp’). It also features songs about faxing (how quaint), blankets and the insect world, as it straddles territory lost somewhere between psychotic ramshackle punk and slimmed down acoustic reverie. Track List A1 Spirit Lie A2 Picture Shows A3 Loretta and the Insect World A4 Actually Faxing Sophia A5 Cello of the City A6 Still too Far B1 Warm Stone B2 Always Horses Coming B3 Vigdis B4 Vienna Two-Step Throw Away B5 Bible Black Book II B6 Brown Recluse B7 Blanket for Tina

    Half Japanese

    Charmed Life

      THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      1000 only. Special art edition with extra LP of unheard material on Blue Vinyl. 30 years on Half Japanese’s ‘Charmed Life’ is reissued for Record Store Day. Less love and more monster, Half Japanese sound more realised and fully formed on their sixth studio album. Jad Fair had “become increasingly adept at funnelling his obsessions into songs charming, frank, comical and weird.” Marc Masters, Pitchfork. “As accessible as Half Japanese get” The Quietus // Track List 1 Said And Done 2 Penny In The Fountain 3 Evidence 4 Vietnam 5 Roman Candles 6 Love At First Sight 7 Snake Line 8 Bright Lights, Big City 9 Face Rake 10 Later In A Magazine 11 Red Dress 12 Trouble In The Water 13 Charmed Life 14 Day And Night 15 One Million Kisses 16 Miracles Happen Every Day 17 Terminator 18 I'll Change My Style 19 Fortunate 20 Real Cool Time 21 Poetic License

      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.

        Horace Andy / Im And The Agg

        Fever / The Flue

        Horace Andy’s classic Studio One cut "Fever" on a super-loud 12” single for the first time ever.

        A killer track originally released on the legendary Studio One label in 1973, with the Cedric Im Brooks instrumental version on the B side.

        Horace Andy is one of reggae’s best known vocalists who has had mainstream success with Massive Attack after appearing on all five of their albums.

        A feel-good dancefloor gem, with huge rocksteady inflections, that hard rockin' riddim will keep the dance jivin' rite thru de session....


        STAFF COMMENTS

        Matt says: Hard skankin' and emerging out of the remnants of rocksteady, this early Horace number has feel-good vibes written all over it.

        Henrik Appel

        Burning Bodies

          The Swedish musician Henrik Appel has been a steady fixture on the Stockholm since moving there at age 20, but is only now, 13 years later, taking his first steps a solo artist with the debut album Burning Bodies arriving on June 29 via PNKSLM Recordings. Stepping away from the garage rock that’s been at the heart of his career so far in Lion’s Den and Martin Savage Gang, Burning Bodies is a more stripped-down affair, taking influence from the likes of Nico, Daniel Johnston, Karen Dalton and Brian Eno. Working with a minimal set-up Appel crafts a larger sound, staying away from the singer-songwriter niche, while delivering his strongest set of tracks yet.

          Henry Blacker

          Summer Tombs

            THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

            LIMITED EDITION RECORD STORE DAY EXCLUSIVE 400 ONLY VINYL LP, PRESSED ON NEON BLUE VINYL WITH DOWNLOAD CODE. FEATURING MEMBER OF HEY COLOSSUS & REIGNS

            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.


            Heather Woods Broderick

            Invitation

              Invitation was conceived on the Oregon coast, an outlier among American landscapes, where vast stretches of empty beach are decorated with silver driftwood and towering pines. It is here among the dunes, tide pools and colossal rock formations that Heather spent her childhood summer day-trips. And it is here that she returned as an adult to construct her newest LP, an album of dreamy baroque-pop that swells and whispers with grand string arrangements, intimately descriptive lyrics, and impassioned songcraft built around earnest piano melodies, painting a lifelike picture of the locale in which it was written.

              In the years between her early youth and the creation of Invitation, Heather has played in Efterklang, Horse Feathers, the live bands of Laura Gibson, Lisa Hannigan, and Damien Jurado, and has also been a longtime collaborator and bandmate to Sharon Van Etten. But while this list may seem enviable for an aspiring young musician, any experienced player will know that the life of a touring musician comes with its own sacrifices. Lasting relationships and financial certainty can be tenuous, as can mental stability itself. Feeling this first hand, Heather traded her usual launchpad of Brooklyn for the sleepy town of Pacific City where she would quietly take a job cleaning houses for a cast of local eccentrics, sitting down at the piano in the off-hours to unpack the personal tragedies and triumphs of the intervening decades since her first trips there. Throughout Invitation, floral tendrils of sound design and dynamic strings decorate the edges of each track, propelling the album beyond mere singer-songwriter fare into something altogether more grand and immersive in scope. 

              RIYL: Sharon Van Etten, Weyes Blood, Marissa Nadler, Julianna Barwick, Julia Holter. 

              Sultry R&B solo artist Harriet Brown is back with a new batch of fully-realized future funk, a slow-burning dispatch from a dayglo dance floor. The Los Angeles by-way-of-the Bay artist honed his musical chops in church, the birthplace of so many soulful sirens. His first project, "New Era EP" came out in 2014, setting off a firestorm of critical and fan adulation. Who was this bowl cut rocking, falsetto dropping, shiny suit man? He followed up with a bombastic debut album, "Contact", an expertly crafted, extraterrestrial soul rumination on the ways we fail to connect, restart, and try again. It was also a transitional album. Made between the Bay and LA, it’s about the electricity of new connections, the distance of old friends. "Mall Of Fortune" is his second full-length album, an airtight meditation on anxiety, paranoia and indecisiveness – decision paralysis and the free-flowing guilt that follows. The bowl cut is gone, but the shine is intact.

              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

              Seductive drone and post cinematic soundscapes between ambient, indie-neoclassical music. These are the best words to describe the vibes of the new album by the Greek/Berliner composer Hior Chronik, entitled "Blind Heaven". While retaining an ambient and modern-classic dimension, "Blind Heaven" goes in search of new territories to observe and interpret. Sound landscapes made of synthesizers, electronics, strings, woodwinds and above all magical touches of the piano, so minimal as they are brilliant in their being perfectly integrated into the sonic trajectories traced by the Athens-born artist who has lived in Berlin for several years.

              Track after track "Blind Heaven" reveals itself by involving the listener in a particularly evocative and immersive multi-stage sound journey: nocturne, crepuscular, foggy, the record moves in neighboring territories without delineating a precise and static form: the sound moves magmatic, it is discovered, it hides, it explodes, it shrinks and once again it frees itself to cross extremely natural and peaceful landscapes, as well as darker, industrial, apocalyptic, noisy and powerful worlds. Storm, then quiet again, but a stillness crossed by splinters and flashes clearly visible in the distance.

              Created between the autumn and winter of 2019 in Berlin, mixed and mastered in Athens by John Valasis (already at the mix for the previous "Out Of The Dust"), "Blind Heaven" confirms Hior Chronik as one of the main names of the scene poised between the electronic-ambient world and that of modern classic minimalism. Proof of this are the prestigious feature of the album: from the Japanese by Erased Tapes, Masayoshi Fujita (vibraphone in "Blanket"), to the Polish pianist Hania Rani, who for a long time accompanied Hior Chronik on tour and whom we see here on the piano in "Words Are Gone", the producer and sound engineer Francesco Donadello, to the modular synths in "One Eternity At The Time", up to the New York artist Amber Ortolano, voice in "Beneath".


              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.”

                Hannah Cohen has arrived home. From the title of Hannah Cohen’s new album to the depth and beauty of the music, the Woodstock, NY-based singer-songwriter’s third album ‘Welcome Home’ displays a new level of confidence and comfort with the many creative tools at her disposal. Cohen’s remarkably evocative voice is surrounded by dreamy, swooning incantations, from the rippling ‘This Is Your Life’ and the slowburning, forthright statement of ‘All I Want,’ to the soul swagger of ‘Get In Line’ and dramatic vocal leaps of ‘Wasting My Time’.

                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.

                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.



                Holger Czukay

                On The Way To The Peak Of Normal

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

                  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

                  Cinema

                    “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

                    5xLP 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

                    Australia

                    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’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.

                      On Clippety Clop, UK punk turned Athens-area musician Holly Golightly explores songs that reflect her experiences and surroundings. Golightly and her significant other, Lawyer Dave, rescue horses in Madison County, so it makes sense that they'd relate to the folk and popular histories of equine-themed lyrics. Twelve such selections make up what might be the first and only covers album of blues, country and indie-rock songs about horses.

                      From swearing like sailors while honoring Jimmie Rodgers' "Mule Skinner" to making alt-rockers Red Red Meat's "Carpet of Horses" sound like alt-country, the couple adds its own twist to each song covered. This juxtaposition between songs' traditional arrangements and Golightly's new musical interpretations keeps conjuring up surprises. Examples include the rockabilly swing on Big Maybelle's "Jinny Mule" and the Vaselines-style indie-pop vibe added to cowboy anthem "I Ride an Old Paint."

                      Golightly explores a wide range of musical approaches, making this a broad-reaching introduction for listeners who only know her White Stripes collaboration. For those who share her and Jack White's interest in unearthing musical history, prepare for a primer on everything from the Singing Brakeman to the legendary British race horse Stewball. - Flagpole

                      Holly Golightly

                      Do The Get Along

                        Do The Get Along features 12 songs performed by the perfect Holly Golightly band line-up of Bruce Brand (drums), Matt Radford (double bass), Ed Deegan (guitar) and Bradley Burgess (guitar). Alongide nine original tracks there are three choice covers – 'Satan is His Name' by Steve King & The Echelons, 'Love (Can't You Hear Me)' by the Knight Bros., and 'I Don't Know', originally recorded by Ruth Brown. 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 12 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. Holly’s also been busy over the last decade as half of blues/Americana duo Holly Golightly & The Brokeoffs (The Brokeoffs being multi-instrumentalist Lawyer Dave). 

                        Holly Golightly

                        Singles Round-Up

                          Holly Golightly (real name) started her musical career as a founder member of all girl garage band Thee Headcoatees, a Billy Childish /
                          Thee Headcoats splinter group in 1991. She spent four years as a Headcoatee before breaking away to release her debut record, The Good Things, in 1995. Where the Headcoatees sound was a blend of girl group sounds and three-chord garage-rock with all the original songs coming from the pen of Billy Childish, Holly's solo sound is more a blend of pre-rock electric blues, folk rock, and less frantic rock 'n' roll. Apart from the wide range of covers of such artists as Willie Dixon, Ike Turner, Lee Hazelwood, Wreckless Eric, and Bill Withers, Golightly also writes most of her own material.

                          Holly Golightly is definitely the most interesting and diverse artist to come out of the Billy Childish school and is certainly one of the better singer/songwriters of the post-grunge era who gets better with every album. Since her debut in 1995, Golightly has been very prolific, releasing a string of classic long play records and loads of singles for a wide variety of labels as well as touring extensively in America, Australia & Europe. This double vinyl LP, (or single CD newly packaged in a digipack) compiles Holly's first twelve 7” singles, A & B-sides. It includes the bluesy 'No Big Thing' with its bar-room piano and harmonica backing, the dirty guitar-driven 'Til I Get, the shuffling brushed drums and double bass of 'Come The Day, the haunting vocal and bottleneck guitar of 'Stain' and finishes with a brilliant up-tempo cover of Pavement's 'Box Elder'.

                          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

                          Krautwerk

                            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.

                            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.

                            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.

                                Rock provocateur Marika Hackman will release her highly anticipated new album ‘Any Human Friend’ via AMF Records and on Sub Pop in North and South America'.

                                Any Human Friend’ has been co-produced by David Wrench (Frank Ocean, The xx, Let’s Eat Grandma) and Marika herself, and shows off a sharper and more liberated sound than ever before.

                                Marika is a ‘Rid of Me’-era PJ Harvey for the inclusive generation: unbounded by musical genre, a preternatural lyricist and tunesmith who isn’t afraid to go there. 

                                STAFF COMMENTS

                                Barry says: A brilliant outing here from Marika Hackman, beautifully marrying the synths and rhythmic drive of 80's pop music with her notoriously superb songwriting prowess, immediately rewarding but develops with every listen. A wonderful change of pace.

                                FORMAT INFORMATION

                                Coloured LP Info: Pink marbled vinyl.

                                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

                                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

                                  Hague & White

                                  The Eleventh Hour

                                    Hague & White are Sheffield musicians Chris Hague (guitars, pianos and backing vocals) and Joel White (lead vocals, Hammond organ, Wurlitzer and Rhodes pianos – who also happens to be the cousin of the bard of Sheffield, Richard Hawley) who, between them, have worked with artists including Pulp, Moloko and Finlay Quaye. The band is completed by legendary drummer and percussionist, former Weller sticksman, Steve White. These three very talented musicians have created a self-assured, sophisticated and breathtaking debut album.

                                    The Eleventh Hour was recorded at Sheffield’s Tesla Studio, produced by Chris and David Glover (with co-production from Joel), and mastered at Abbey Road. It encompasses various styles and moods, touching on the band’s love of soul, jazz, funk, psych and garage. With a sound hard to define, the eclecticism of Hague & White has been compared to anything from the sounds of Acid Jazz, to bands such as Elbow and The Last Shadow Puppets.

                                    Album opener Distant Relative tackles the issue of mental health within a family, soundtracked by an atmospheric arrangement and breezy harmonies. Elsewhere songs such as Stranger To Your Love and first single Just Be True are upbeat pop numbers filled with instantly memorable hooks and melodies.

                                    Over a slice of ‘60s garage, What Ya Gonna Do Now drives home the message to keep on keepin’ on in the face of adversity, whilst I Thought I continues this sentiment over a soulful romp. The groove continues apace on Put Me Where You Want Me, an anti-hero song, recognising that we sometimes need other people and we can’t do it all by ourselves.

                                    The penultimate track on the album is the exquisite Don’t Hurt, a positive song about rescuing someone from a past abusive relationship. The album culminates with title track The Eleventh Hour, which asks philosophical questions of the time we have here on earth, full of social and political comment. It’s a song that showcases the band’s deep love of the type of ‘message music’ so common in the work of artists such as Marvin Gaye, Stevie Wonder and Curtis Mayfield.

                                    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.

                                    Les Disques du Crepuscule present a remastered CD edition of Rhythm of Life by Paul Haig, the debut solo album by the enigmatic pop moodist who first made his name with Postcard label art-punk legends Josef K.

                                    Rhythm of Life was originally released in November 1983 and recorded in New York and London by renowned producer Alex Sadkin. A collection of nine polished club pop tracks, the sessions featured a stellar case of guest musicians including Berni Worrell (Parliament/Funkadelic), Jack Waldman (Robert Palmer), Anton Fier (Feelies/Golden Palominos) and Tom Bailey (Thompson Twins). The album spawned no less than four singles in Heaven Sent, Justice, Never Give Up and Blue For You. Other standout tracks include Adoration, originally performed while Haig was still fronting Josef K.

                                    The five bonus tracks are taken from the 1984 mini-album New York Remix. All are extended dance remixes by Big Apple deejay Bruce Forest, boosting the total playing time to 70 minutes. The booklet contains a detailed Haig biography and retains the original album artwork by Crepuscule design director Benoit Hennebert.

                                    Paul Haig

                                    The Wood

                                      Les Disques du Crepuscule presents The Wood, a brand new studio album by Scottish singer and songwriter Paul Haig, previously frontman with cult Postcard post punk legends Josef K.

                                      Paul’s fourth solo album for Crepuscule since 1983 was written and recorded over a three year period between 2015 and 2018, and explores glitchy, twisty sonic territories in the vein of Four Tet, Floating Points and Love Over Entropy.

                                      ‘We can think of the wood or forest as a metaphor for the mystery of the human psyche,’ says Paul. ‘Like the human soul, it can be a place of hidden meanings and unrevealed secrets. I wanted to try and evoke this through the music and worked hard on finding the right balance of electronic and organic sound samples across a broad range of musical genres.’

                                      Haiku Salut

                                      The General

                                        “The General” features Haiku Salut’s new original soundtrack for Buster Keaton’s 1926 comedy classic of the same name. Commissioned by Nottingham Contemporary as part of the BFI’s Comedy Genius season, the 23 track score was written within a two-month period over winter in the band’s studio at the edge of the Peak District, and sees the trio of Gemma Barkerwood, Louise Croft and Sophie Barkerwood give the revered silent film a startling electronica overhaul. Combining glitchy electronica, soaring post rock, and beautiful piano pieces, “The General” is an emotional, transformative record. The band find moments of drama and heartbreak in a much-loved comedy, and enrich the bygone world of Buster Keaton with a gloriously contemporary score.

                                        The album was preceded by a double A side single, which showcased the scope of “The General” soundtrack. “Loves” is a simple, beautiful piece for guitar, piano and electronics, which charts Buster Keaton’s character Johnnie Gray woo-ing his true love Annabelle, while “Going Back” follows an extremely unusual chase scene with tangled electronica, ghostly treated voices, and a moment where the music and the action suddenly goes into reverse. Elsewhere, the album takes in shimmering electro (“Firewood”), a song which bleeds electronica into dub (“Train Steal”), gorgeous piano pieces haunted by electronics (“Reunited”, “Enlist”), and songs which melt all of the above (“The Flood”, “The Escape”). Haiku’s albums are often described as “a soundtrack to an imaginary movie”, but this album artfully turns that notion on its head. Here’s a soundtrack to an actual movie which exists brilliantly in its own right. 

                                        STAFF COMMENTS

                                        Barry says: Haiku Salut are one of the most enchanting and hypnotic acts to have come out since Múm or Sigur Rós, changing between tender, acoustic instrumentation to rhythmic, driving electronica and syncopated percussive drive in the blink of an eye. Spellbinding and absolutely essential.

                                        Haiku Salut

                                        There Is No Elsewhere

                                          ‘There Is No Elsewhere’ is Haiku Salut’s third album and sees the acclaimed trio from Derbyshire continue their distinctive re-imagining of dreampop and rural electronica. Influenced by the evocative film soundtracks of Yann Tiersen and Benoit Charest, the genre-melting electronica of early Mum, and the impressionistic writing of Haruki Murakami, the band have previously released two critically acclaimed albums whilst last year they collaborated with Public Service Broadcasting on the track “They Gave Me A Lamp”, which featured on the PSB’s top five album, Every Valley. Yet it is this release that sees the band finally find their place, both musically and politically.

                                          “It is an album about occupying your space, being proud of what you believe in and who you are,” says Sophie Barkerwood from the band. “It’s about making small life changes, making better decisions, writing better songs, having better conversations, knowing that these can lay foundations for change. It’s about finding who you are and not being dictated to about what you should be. It’s about celebrating others. It’s about making changes for a better future.”

                                          This sense of solidarity and community prompted Haiku Salut to work with Glastonbury Brass on “Cold To Crack The Stones” and “The More And Moreness”, both of which marry the band’s ambitious interweaving of electronic and organic, natural and unnatural with the triumphant warmth of a brass band in full flow (with the former featuring a manipulation of a NASA recording of pulses emitted by lightning). It also provided the emotional core of the hypnotic electronic attack of “Occupy”, the genre-melting joy of “We Are All Matter”, and the startling “I Am Who I Remind You Of”, a seven minute pastoral symphony that sees treated vocals and glitched electronica blur into tradition, history and a sense of belonging, like waking up to sunshine after a long and dazzling dream.

                                          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.


                                          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.

                                          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

                                            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.

                                            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.

                                                  Hairband

                                                  Hairband

                                                    Bursting forth in a riot of colour, Hairband are a new five piece group from Glasgow who, on their debut recordings, have distilled the joy and bittersweet trials of youth into 5 songs that bend to no rules but the ones they make up as they go along. Deeply immersed in their local DIY scene and featuring members of groups Spinning Coin, Breakfast Muff, Lush Purr and Kaputt, Hairband’s take on pop music is their own, so natural yet odd-shaped, carefree but meticulously constructed that it feels like no one has quite made music quite like this before, celebratory and joyful. Recorded in Glasgow’s famed Green Door Studios, and played in the moment, Hairband are life-giving.

                                                    Hairband formed in 2016, by Glasgow DIY standards that makes them veterans. Their instinctively intricate triple-guitar lines deftly weave counterpoint and melodies which interact with Sephi Lock and Emma Smith’s elastic, breathing rhythm section. The music here presents as streamlined pop but bubbling beneath the hooks is audacious instrumental work. Indeed, the tension at the heart of Hairband’s music is a group who can play without it sounding like a big deal. Is this a Glasgow thing, because Orange Juice were a bit like that, Sacred Paws too. Hairband even try on a little Marquee Moon-era Television on Sassy Moon and make it fit like the best charity shop find ever. They’re a band with five songwriters, each distinct with a uniqueness barely containable except within Hairband. The synergy of the group often means that individual personalities are immersed in the whole, so when Rachel Taylor’s voice is isolated at the end of Flying – a sweet but sure ode to gravity, about trying to stay grounded when the world is spinning - it’s all the more affecting. The play of light and shade throughout the record is deftly handled: opener Bee has an intricate rhythmic accompaniment, sounding a little like Life Without Buildings’ jittery polyrhythms married to a sweet ensemble vocal performance topped off with melodically nourishing guitar licks. It’s a formula repeated on Bubble Sword, with guitarists Rowan Wright and Simone Wilson’s twin chords criss crossing across the stereo-field before a straight down the line, loaded rock riff skewers the prettiness.

                                                    On the flip side, Hairband’s true instrumental prowess is on 10. Sassy Moon rolls out with the confidence of a band completely in tune with each other, Wilson’s vocal dancing across the treetops, Morricone-esque guitar slashes providing vivid colour. With Lock and Smith’s tight-but-loose rhythm loping purposefully and the group backing vocals washing over, suddenly the line “How do you feel? How do you feel… about the moon?” feels like the most important question you’ll ever be asked. White Teeth sums up every high on this epic self-titled debut. A stomping rhythm shrouded in soft melancholy emboldened by the band’s glorious sense of harmony. It could be a critique of beauty norms, a ghostly memory of an ideal unattainable but ultimately when the band are locked in like this it’s a source of pure joy, it goes beyond subject matter into wordless communication. Hairband is an ode to doing things differently, true, to standing together with your friends, to having respect for what’s gone before but also to carving your own niche. It’s simple, it’s not so simple, as Chic say, “celebrate good times”, Hairband seem to say, celebrate the times.

                                                    Haircut 100

                                                    Pelican West Plus

                                                      Fun but clever ’80s New Wave pop act Haircut One Hundred scored a gigantic hit with their 1982 single “Love Plus One”. It was featured on their successful debut album Pelican West, peaking at 2 in the UK Album Chart and 31 in the Billboard 200. The pop rock record showcases their refreshing music with Conga and Brazilian percussion and woodwind and brass instruments. It contains a couple of outstanding tracks which defined the music of the New Wave acts. Feel good music as it should be

                                                      FORMAT INFORMATION

                                                      2xColoured LP Info: Pelican West Plus is available as a limited edition of 1000 individually numbered copies on yellow vinyl. This special edition includes a bonus LP with 5 extra tracks; “Nobody’s Fool (12” Version)”, “Ski Club”, “October Is Orange (Day 1& 2)”, “Boat Party”, “Favourite Shirts (Boy Meets Girl) (12”
                                                      Version)”. The package contains a 4-page booklet

                                                      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

                                                      S/T

                                                        “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.

                                                        Pleasureland is the newest work from Canadian-born artist Haley McCallum, known professionally as Haley Bonar for the past 15 years. In 2017, she changed her surname to reflect her maternal family name, now performing under thename HALEY.Stark, minimalist, and melodically entrancing, Pleasureland stands in a class entirely of its own, forging new but not unfamiliar ground for the Minnesota-based artist HALEY.

                                                        Harkening back to her 2011 release Golder, which featured two instrumental tracks, McCallum has taken the instrumental concept a few steps further in a bold musical statement which features no vocals. This time, McCallum’s musicianship and artistry take the lead. Transitioning from the erratic, synth-driven intro of "Credit Forever Part 1" into the deeply enchanting "Give Yourself Away", which blends piano melodies in the style of French Romanticism with the production stylings of Brian Eno to build a sonic landscape which is as lovely as it is uneasy.

                                                        In the stoner-metal burner "Syrup", McCallum’s lead guitar swaggers lazily over a fuzzed out, intense layer of distortion, featuring long-time collaborator and guitar wunderkind Jeremy Ylvisaker and Low's Steve Garrington on bass. The intimate and devastating "Pig Latin" showcases McCallum’s extraordinary gift for melody, carried by world class saxophonist Mike Lewis (Happy Apple, Bon Iver), tracked live in Haley's bedroom.

                                                        Mixed by Shuta Shinoda (Anna Meredith, Ghostpoet), McCallum’s production shines through in a new light. Sparsely interlacing the organic and digital, Pleasureland moves through the gamut of grief, perception, and empowerment, eliciting both the uneasiness of a world shifting unexpectedly as well as the innate capacity for goodness and beauty. Here, McCallum displays her long time mastery of simple and haunting melodies that remain with the listener long after, replacing explanation through words with a pallet of sonic exploration wrapped up into just twenty-seven minutes.

                                                        FORMAT INFORMATION

                                                        Coloured LP 2 Info: White vinyl edition.

                                                        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.

                                                        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!

                                                        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.

                                                          Half Man Half Biscuit

                                                          No-One Cares About Your Creative Hub So Get Your Fuckin' Hedge Cut

                                                          Famed for making ill-tempered music with a social conscience, Birkenhead band Half Man Half Biscuit, formed in the early eighties, ‘merely as a way of getting through the day’. Quickly picked up by the angst-ridden youth of the eighties, their punk driven, lyrical rants, and protests against all things celebrity and fake, became the unofficial anthems of the underground.

                                                          STAFF COMMENTS

                                                          Barry says: Another classic title from the HMHB camp, and fortunately the music is as entertaining as the cover is, with their trademark ska-lite jangle and throbbing spoken word oddities in full force, this is yet another superb outing.

                                                          FORMAT INFORMATION

                                                          Vinyl comes with CD version of the album enclosed.

                                                          Utilising a meld of hardware, old tape recorders and original instrumentation - the Bristol based producer readies the inaugural release on this newly formed alias and in doing so presents the aptly titled ‘First Step’.

                                                          Slotting in neatly with the Breaker Breaker catalogue, the First Step EP smothers burly drums with woozy sampling that work together to build a trippy, floor-ready sound. ‘Temptation’ kicks things off with a gritty shuffle that propels playful Funk samples before ‘Day One And Two’ sets a loose-limbed plod under thick, palpable synth lines.

                                                          Fluorescent then sets rhodes keys flicking out with a certain Floating Points-esque flair and pushed on by a driving plod that rounds of a memorable set of dancefloor moments.

                                                          Half-handed Cloud’s ‘Flying Scroll Flight Control’ presents Dada interior-architectural songs, in the mode of Kurt Schwitters’ ‘Merzbau’, the sound of Robert Rauschenberg’s cardboard combines, interrupted by Futurist noise intoner music of collision. They’re integrated with the radiant flicker of Stan Brakhage’s domestic / personal 1960s art films, the mechanized music of Conlon Nancarrow, Mister Rogers’ avant-garde children’s operas and the methods of Grunge era hometaping alchemists Eric’s Trip, with scriptures giving voice to the unknown.

                                                          The album features a 5-person female choir, manipulated recording tape, fuzz bass, clarinet, some piano, a child’s Magnus air organ, rhythmic zipper, trombone, a cushioned Stylophone stick and intermittent backpacker guitar.

                                                          Mixed by Sufjan Stevens.

                                                          Mastered by John Dieterich (from Deerhoof).

                                                          “Sometimes, the songs have an appeal reminiscent of a hypercaffeinated Shins, with the addition of a refined sense of quirkiness that evokes a Mark Mothersbaugh score for a Wes Anderson movie.” - Pitchfork

                                                          “The usual intricate assortment of horns, pianos and marimbas return to fill out the sonic tableau but the synthesized textures push Ringhofer toward a delightfully idiosyncratic white-boy soul aesthetic.” - Paste Magazine

                                                          FORMAT INFORMATION

                                                          LP includes MP3 Download Code.

                                                          First new Kyle Hall record we've had in in tiiiiime! The Detroit upstart comes correct with more of his trademark kix-hats-n-perx, supplemented with a jazz / boogie-informed palette and direction.

                                                          It's certainly worth the wait as this star of the D showcases his unique, playful & psychedelic style. A master of synthesis, the level of depth and control he has over his machines is often unfathomable.

                                                          Seriously limited copies, first come first served!

                                                          Artwork By Michio James

                                                          Pieces to Share Mixed by Kyle Hall & Steve Lehane @ Rust Belt Studios

                                                          Mastered By Matt Colton: Alchemy Mastering London

                                                          Photography By Em Gorzelnik


                                                          STAFF COMMENTS

                                                          Matt says: Purple bursts and hydraulic splurges galvanized with Motor City bump and grind? It can only mean Kyle Mother F***in Hall is back in tha area! Form an orderly queue plz...

                                                          Hallelujah The Hills

                                                          Collective Psychosis Begone

                                                          Hallelujah The Hills is one of the most admirably devoted, unconventional bands to have come out of Boston in recent years. Boston has likewise been waiting for them as demonstrated by packed shows and regular accolades from the Boston Phoenix (where they are now up for an award for Best New Band) and the Boston Weekly Dig. The band's line-up of bass, drums, cello, Moog, trumpet, melodica, sampler and plenty of guitars grants them the space to expand and contract as their melodies and arrangements see fit. Think of them as the sonic equivalent to Willy Wonka's ferry ride, seemingly random yet utterly precise, first drifting along a chocolate river with a gentle lulling sound then hurtling you into the unknown with a thundering danger until you arrive somewhere entirely new, a fantastic destination full of wonder. Unlike some of their anthemic peers, Hallelujah The Hills find solace in the space between their crashing crescendos and choral peaks and that's a subtle strength of the band. It grants the songs a great diversity, from amped-up campfire sing-alongs to sombre ballads.

                                                          Abdel Hadi Halo & The El Gusto Orchestra Of Algiers

                                                          Abdel Hadi Halo & The El Gusto Orchestra Of Algiers

                                                          Chaabi has its roots in the Andalusian music of Moorish Spain, spreading to North Africa with exiled Jewish and Moorish communities; but it really took off in the music schools, parties and bars of occupied, post-WWII Algiers, where its Andalusian, Middle Eastern and North African lineage infused with the Mediterranean soundtrack of that era — chanson, jazz, snatches of tango and a little boogie-woogie. "Abdel Hadi Halo And The El Gusto Orchestra Of Algiers" was recorded on the tilting fifth floor of the Conservatoire d'Algiers, in a room overlooking the sea on one side, and the Casbah on the other: the orchestra was recorded 'live' in full flight — all together, in continuous takes. For our recording, the Orchestra included four singers — joined in chorus by the voices of the entire orchestra — and five-man banjo, percussion and violin sections. The scale and organization are thrilling; the music is swirling and improvisatory, surging from the haunted to the bluesy, the devotional to the knees-up.

                                                          Halo Maud

                                                          Des Bras - Andy Votel Remix

                                                            Andy Votel says: "Working with Halo Maud's song came extremely naturally to me, and I thank Jeff [Barrett, of Heavenly] for recognising this connection. The contrast of her strong melodic songwriting combined with the fragility of her vocals is a real secret weapon and much more than just a breathy pastiche. I think Maud effortlessly captures many unique subtleties in French language music which so many contemporary bands seem to forget, and it's ingredients like these which gave me the confidence to take a more minimal route with this mix, which I appreciate.

                                                            "In the past I could only dream of finding a singer that comes close to Léonie Lousseau or Ann Sorel so working with Maud's vocals was an enjoyable experience and I already regard this short track as one of my personal favourite production achievements.... which I can't wait to play on the radio... off 7" vinyl naturally."

                                                            Maud says of the track, "I wrote the basis of the song in a few minutes, the day before a show. It was just the guitar and the voice, very simple. The rest of the track is a mix between a band jam, improvisations, ambient sounds, happy studio accidents, and all this material has been re-cut and tinkered with, until I felt it made sense. "It’s an amazing feeling to discover another vision of your own song, and Andy Votel’s version really overwhelmed me, in a good way. This is another song, but it’s still me. Thank you for this huge present.”

                                                            The original song features on Halo Maud's debut album, Je Suis Une île (which translates as "I Am An Island"), released on Heavenly Recordings last May.

                                                            Halo Maud’s first release on Heavenly is a recap of the story so far ahead of an album release later this year – three tracks of this EP originally came out on a Canadian label last year, with the difference that ‘Du Pouvoir’ now features some English lyrics, and ‘À La Fin’ and ‘Dans La Nuit’ cropped up on a La Souterraine compilations in 2015 and 2016 respectively.

                                                            Maud Nadal has been a member of both Moodoïd and Melody’s Echo Chamber’s live bands, and of course at times there are comparisons to be drawn with MEC, with both teetering on a crystalline peak where extreme joy and despair meet. But if anything Nadal’s own melodies are even more indelible, and her voice turns them into vapour trails.

                                                            STAFF COMMENTS

                                                            Barry says: Hazy harmonies, rolling grooves and insistent percussive workouts form the backbone to Nadal's often haunting vocal flourishes, sometimes falling behind to give the vocals their own space. Perfectly measured and beautifully written immersive indie anthems.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Includes exclusive bonus 7" featuring two new tracks: "Tu Sais Comme Je Suis" and "Depression Au-dessus du Jardin", while stocks last.

                                                            Matthew Halsall & The Gondwana Orchestra

                                                            When The World Was One

                                                            Over the course of four albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of its brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His label Gondwana Records is home to GoGo Penguin and his own albums have found Halsall exploring the modal jazz of John and Alice Coltrane, paying tribute to the hard bop of the late '50s and early '60s or most recently on 'Fletcher Moss Park' drawing on Eastern influences in his most personal statement yet. His latest album 'When The World Was One' is something of a companion piece to 'Fletcher Moss Park' (much of the music was written at the same time) but draws more explicitly on Halsall's love of spiritual jazz and Eastern music as well as his own studies in meditation and travels in Japan. Beautifully recorded at Hasall's favourite studio, 80 Hertz in Manchester, and engineered by Brendan Williams and George Atkins it features the recording debut of Halsall's large ensemble, The Gondwana Orchestra, which utilises the exotic flavours of harp, koto and bansuri flute and Eastern scales to create a global palate for Halsall's life-affirming sounds.

                                                            The Gondwana Orchestra features long time collaborators Nat Birchall, saxophone, Gavin Barras, bass and Rachael Gladwin, harp as well as Taz Modi on piano. Modi who also plays with Halsall in their more electronic trio shares his passion for spiritual jazz and plays the music with real feeling while the role of the harp here is to bring a touch of 'magical reality' a floating dreaminess that is a vital part of Halsall's elegiac and beautiful music. The drummer Luke Flowers is perhaps best known as part of Cinematic Orchestra, and Halsall describes him as 'one of the best drummers in the world' and hails him for 'playing the music exactly as I heard it in my head', Keiko Kitamura is a Japanese Koto player who is becoming an increasingly important part of the Gondwana Orchestra, her role is similar to Gladwin's in that the koto helps free up the music while also bringing a real sound of the East. Finally, flautist Lisa Mallett brings a love of Indian music to the orchestra, much travelled on the continent she brings all of her knowledge and experience to play offering a unique texture to Halsall's dreamy melodies.

                                                            Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall is one of the rising stars of the UK jazz scene. His unique sound was brilliantly described as "Rain-streaked spiritual jazz from Manchester" by the Independent On Sunday and previous albums have found Halsall exploring the modal jazz of John and Alice Coltrane or paying heartfelt tribute to the hard bop of the late 50s and early 60s, but on 'Fletcher Moss Park' he offers his most personal statement yet.

                                                            Written and recorded over the last couple of years, 'Fletcher Moss Park' is inspired by one of Manchester's most beautiful places. A rambling, multi-tiered park of walkways and dreamy gardens that offers the contemplative Halsall a place of peace and respite from the city, a meditative space to think and write in. The stillness and beauty of the surroundings have steeped into his beautiful compositions for this album. Elegant and sincere, Halsall's compositions draw on his love of spiritual jazz, modern dance music and even his work with the award-winning Brighouse & Rastrick Brass Band earlier this year. Halsall who has recently been exploring his music in a stripped-back, electronica influenced, trio (featuring Taz Modi and Luke Flowers who also appear here) as well as the 12 piece Gondwana Orchestra has always favoured an earthy honestly and direct communication over tricksy arrangements and it is this deceptively simple openness that gives his music such a unique flavour as the young composer and producer seeks to express his feelings and thoughts with his music.

                                                            'Fletcher Moss Park' opens with three tracks featuring saxophonist Nat Birchall, harpist Rachael Gladwin and pianist Adam Fairhall alongside bassist Gavin Barras and drummer Gaz Hughes all long running members of Halsall's sextet. The beautiful 'Cherry Blossom' opens with a nod to Alice Coltrane before exploring it's own contemplative trajectory, the title track features a gorgeous opening from harpist Gladwin and one of Halsall's trademark slow but foot tappingly catchy grooves, Mary Emma Louise is an elegant tribute to someone special and features some beautifully wistful playing from the composer. 'Sailing Out To Sea' and 'Wee Lan' offer a change in mood, two short interludes for violin (Holly Simpson and Davinder Singh), cello (Adrianne Wininsky) and double bass (Barras), Halsall chose not to play here feeling that the brief musical sketches caught his intentions perfectly. Finally the album closes with the two most recent compositions, the reposeful 'Sun In September' which features fine work from flautist Lisa Mallett, alongside pianist Taz Modi and drummer Luke Flowers and the uplifting 'Finding My Way', which with its compelling groove and fine drumming from Flowers (best known for his work with Cinematic Orchestra) offers a nod towards Halsall's love of contemporary electronic music as well as a hint of future projects. But as with the writing here you can be sure that wherever Halsall's muse takes him his music will remain heartfelt and life affirming in its elegant directness as he explores his own unique musical terrain that stretches from the bucolic stillness of 'Fletcher Moss Park' to a world far beyond!

                                                            STAFF COMMENTS

                                                            Ryan says: A favourite of mine from our own local Jazz mastermind. Fletcher Moss Park explores a 50's, 60's sound channeling the likes of Coltrane. As you can imagine this album flows beautifully from beginning to end, almost as good as a stroll through the park itself.

                                                            Manchester based, DJ, bandleader and trumpeter Matthew Halsall is one of the UK's brightest jazz talents. A gifted trumpeter with a beautiful, expressive tone, his music draws on his love of the transcendental, spiritual and modal jazz of Alice and John Coltrane and Pharoah Sanders, as well as the glories of 60s British jazz.

                                                            His third album "On The Go" is a heartfelt love letter to the jazz of the late 50s and early 60s. Inspired by the evocative sounds of Miles Davis' soundtrack to the Louis Malle film "Lift To The Scaffold" and the legendary early 60s recordings of Art Blakey and Max Roach the album is nostalgic but always soulful. However, while Halsall's elegiac music is imbued with a sense of history, the young trumpeter and DJ nevertheless brings a contemporary bounce to his music ensuring that his music breathes with a personality all its own.

                                                            The album opens with "Music For A Dancing Mind", the most obvious nod to the work of Blakey and Roach. The beautiful "Song For Charlie" is named for Halsall's grandfather, a key inspiration in his life. Dukkha is a Buddhist term roughly translating to suffering so the title "The End Of Dukkha" is self-explanatory and "Samatha", another Buddhist term, means calm, a perfect title for this elegant tune. "The Journey Home" came to Halsall on the train back to Manchester from London and captures that happy feeling of return.



                                                            Matthew Halsall & The Gondwana Orchestra

                                                            Journey In Satchidananda / Blue Nile


                                                            Originally isused back in 2015 and now selling for silly money on Discogs and Ebay, Gondwana Records is delighted to announce the re-release of Matthew Halsall & The Gondwana Orchestra's tribute to Allce Coltrane / Journey in Satchidananda and Blue Nile.

                                                            Featuring Matthew Halsall trumpet, Lisa Mallett flute, Rachael Gladwin harp, Taz Modi piano, Gavin Barras bass, Gaz Hughes drums and Nat Birchall percussion and recorded at the legendary Maida Vale Studios. Vinyl and download.

                                                            Packed in a distinctive bright orange Gondwana Records sleeve this is the first in a collectors series of spiritual jazz limited-edition EPs set for release in 2018 as part of Gondwana Records' 10th anniversary.

                                                            Matthew Halsall (born September 11, 1983, in Manchester, England) is a Worldwide Award winning and MOBO nominated trumpeter, composer, producer and DJ. Since 2008, Matthew has released seven critically acclaimed studio recordings and has been a key figure in the rise of a new jazz sound in the UK. In addition to his own releases Halsall has collaborated with many DJs and producers, most notably DJ Shadow and Mr. Scruff, and in 2013 Matthew's music was selected by Bonobo for his Late Night Tales compilation. Halsall is also the founder of Gondwana Records, a genre bending independent record label featuring a wealth defining albums by the likes of Portico Quartet, GoGo Penguin, Hania Rani and Mammal Hands. His own rich music draws on the spiritual-jazz of Alice Coltrane and Phaorah Sanders, contemporary electronica and dance music alongside his travels in Japan, the traditional art and music of which, has left a lasting impression on his compositions.


                                                            Sending My Love (2008) and Colour Yes (2009) were his first releases and document Halsall's first great bands featuring the likes of flautist Chip Wickham, saxophonist Nat Birchall, harpist Rachael Gladwin, bassist Gavin Barras and drummer Gaz Hughes. Joyful, life-enhancing albums, drawing on UK jazz and spiritual jazz influences but with a decidedly modern bounce, they introduced Halsall's music to the world gathering support from the likes of Gilles Peterson and Jamie Cullum, Mojo, Straight No Chaser and beyond. But Halsall was never completely happy with how the records were presented and as part of Gondwana Records 10th anniversary decided to revisit the recordings, meticulously remixing and remastering them for vinyl and commissioning new artwork from Ian Anderson, one of his favourite designers. These then are the definitive editions of the records. Sending My Love comes complete with the beautiful bonus track This Time, while Colour Yes features the equally striking It's What We Do and Ai.


                                                            "I am very proud of these early recordings. They represent the starting point of my musical journey in Manchester and showcase some of the cities finest musicians such as: Nat Birchall, Chip Wickham, Rachael Gladwin, Adam Fairhall, Gavin Barras and Gaz Hughes. They are also the very first recordings my brother and I decided to release on our record label (Gondwana Records). Listening back they sound full of energy and joy and really reflect how I was feeling at that precise moment. But as much as I loved the music, I was never 100 percent happy with the sound of the mixes and mastering. So I decided to go back to the original tapes to remix and remaster them and present them the way I'd always wanted, and along the way we unearthed a couple extra unreleased tracks, which we decided to include as bonus material. Myself and my brother also decided to bring in Ian Anderson of The Designers Republic to re-imagine the artwork and we are super blown away by the results!" Matthew Halsall, Oct 2019

                                                            STAFF COMMENTS

                                                            Millie says: A further look into Matthew Halsall’s previous releases, Colour Yes from 2009 (Ten years ago!!!) is a mixture of soft piano keys and swaying brass. More uncovered gems please Gondwana Records, this is truly beautiful.

                                                            The recordings on Oneness date from Jan, March and September 2008 and were born from a period of experimentation as Halsall first began to explore the music that would provide the inspiration for his spiritual jazz recordings Fletcher Moss Park and When the World Was One. They also offer an intriguing snapshot into the birth of Halsall's Gondwana Orchestra and feature many musicians who would go on to become a key part of Halsall's musical journey, such as harpist Rachel Gladwin, bassist Gavin Barras and saxophonist Nat Birchall. The recordings sat in the Gondwana Records vaults for over a decade before Halsall felt it was the right time to share them. Asked about the recordings Halsall says:

                                                            "I've always treasured these recordings and loved how vulnerable, open and free they are, but I just felt they were too subtle and sensitive to release early on in my career, so I held them back until now. I also feel now is the right time to release these before I begin a fresh journey with a new bunch of musicians."

                                                            Remarkably, the beautiful compositions heard here were all built around a simple tanpura drone sound. An instrument Halsall heard on Alice Coltrane's 'Journey In Satchidananda' album and then at a later date in a concert featuring Arun Ghosh on clarinet and John Ellis on piano. "I loved the way this instrument created a sort of meditative atmospheric pulse for the musicians to work over and it had this beautiful feeling of togetherness, so after the gig I went out and bought a Raagini Shruti box featuring the tanpura drone and began to practice my trumpet over it and wrote lots of loose themes and melodies".

                                                            The sessions that make up Oneness capture Halsall in the process of building a new band, reaching out to various musicians he'd discovered and admired on the Manchester, Liverpool and Leeds music scene. "I really liked this idea of bringing lots of musicians together from different backgrounds and was fascinated with how they would all react to each other and the tanpura drone box seemed to bring everyone together really well, it was kind of like a nice meditative icebreaker exercise for everyone to loosen up, before we got stuck into the more composed tunes I'd created, some of which ended up on the Sending My Love and Colour Yes albums".

                                                            The album's title, Oneness, speaks to both Halsall's conviction that the planet should be shared equally with all of its inhabitants. That no human being or other inhabitant deserves to exist more than the other and that we can achieve far more together than against each other. And also importantly to what Halsall was aiming for musically:

                                                            "I really believe in Oneness and I've always loved the term 'greater than the sum of its parts'. I could make music on my own and live a fairly isolated antisocial life, but there's something far more rewarding about creating things with others. And for me these sessions document the coming together of lots of different musicians in a wonderfully organic soulful way to make egoless music".

                                                            It's a belief that continues to underpin Matthew's music making and a message that the word sorely needs right now as we feel more divided and separated than ever. This then is Oneness, a decade in the making and well worth the wait. Enjoy!

                                                            AIRPLAY from Mart Ann Hobbs, Gilles Peterson, Unclassified radio 3, Late Junction etc

                                                            STAFF COMMENTS

                                                            Millie says: Matthew Halsall’s recordings from 2008 have made it to the surface in this stunningly delicate record, Oneness. From the beginning of his journey, this precious jazz which has been stored for over a decade is a beautiful and pure edition to Halsall’s releases.

                                                            Matthew Halsall (born September 11, 1983, in Manchester, England) is a Worldwide Award winning and MOBO nominated trumpeter, composer, producer and DJ. Since 2008, Matthew has released seven critically acclaimed studio recordings and has been a key figure in the rise of a new jazz sound in the UK. In addition to his own releases Halsall has collaborated with many DJs and producers, most notably DJ Shadow and Mr. Scruff, and in 2013 Matthew's music was selected by Bonobo for his Late Night Tales compilation. Halsall is also the founder of Gondwana Records, a genre bending independent record label featuring a wealth defining albums by the likes of Portico Quartet, GoGo Penguin, Hania Rani and Mammal Hands. His own rich music draws on the spiritual-jazz of Alice Coltrane and Phaorah Sanders, contemporary electronica and dance music alongside his travels in Japan, the traditional art and music of which, has left a lasting impression on his compositions.


                                                            Sending My Love (2008) and Colour Yes (2009) were his first releases and document Halsall's first great bands featuring the likes of flautist Chip Wickham, saxophonist Nat Birchall, harpist Rachael Gladwin, bassist Gavin Barras and drummer Gaz Hughes. Joyful, life-enhancing albums, drawing on UK jazz and spiritual jazz influences but with a decidedly modern bounce, they introduced Halsall's music to the world gathering support from the likes of Gilles Peterson and Jamie Cullum, Mojo, Straight No Chaser and beyond. But Halsall was never completely happy with how the records were presented and as part of Gondwana Records 10th anniversary decided to revisit the recordings, meticulously remixing and remastering them for vinyl and commissioning new artwork from Ian Anderson, one of his favourite designers. These then are the definitive editions of the records. Sending My Love comes complete with the beautiful bonus track This Time, while Colour Yes features the equally striking It's What We Do and Ai.


                                                            "I am very proud of these early recordings. They represent the starting point of my musical journey in Manchester and showcase some of the cities finest musicians such as: Nat Birchall, Chip Wickham, Rachael Gladwin, Adam Fairhall, Gavin Barras and Gaz Hughes. They are also the very first recordings my brother and I decided to release on our record label (Gondwana Records). Listening back they sound full of energy and joy and really reflect how I was feeling at that precise moment. But as much as I loved the music, I was never 100 percent happy with the sound of the mixes and mastering. So I decided to go back to the original tapes to remix and remaster them and present them the way I'd always wanted, and along the way we unearthed a couple extra unreleased tracks, which we decided to include as bonus material. Myself and my brother also decided to bring in Ian Anderson of The Designers Republic to re-imagine the artwork and we are super blown away by the results!" Matthew Halsall, Oct 2019



                                                            STAFF COMMENTS

                                                            Millie says: The first of Mathew Halsall’s original releases ‘Sending My Love’ is a journey back in time to Halsall’s first beginnings with flourishing jazz notes. With the bonus track ‘This Time’ it’s a remastered treasure!

                                                            In the late 90s Neil fronted Slowdive, and after a couple of really good records they split. From there Neil formed his current band Mojave 3, who have released four records to date with a few more to come, we hope. Hard to find two bands with more critical accolades, and at the core of those bands was Neil and his songwriting. "Oh! Mighty Engine" is the name of Neil's newest solo record. It is a record that can handle excessive listens and seems to absorb every mood thrown at it. It is really hard to find a record that can make you happy, sad, and can make you laugh all at once. This record does that.

                                                            Hamell On Trial

                                                            Choochtown - 20th Anniversary Edition

                                                              Ed Hamell on ‘Choochtown’: “I was living in Brooklyn, constantly on the road, and been dropped from my major label deal on Mercury/Universal. I really had nothing to lose and I was very inspired, if I remember, by the movie Pulp Fiction and the Biggie Smalls record: Ready To Die. I recorded anywhere I could. My friend Billy Nicgorski had an analog one inch studio in his basement, his younger brother had a band and I would use them. I also did a bunch of it in my basement in Brooklyn which had a dirt floor and I set the recording gear up on plastic paint pails. Used them as drums sometimes too. I released it on my own label Such-A-Punch and it got licensed to Evangeline in the UK where it got rave reviews and established my career over there. After all the press I got for my first two albums on a major I couldn’t get shit over here in the States, only that CMJ magazine which took their silliness pretty seriously who basically said, ‘We don’t know what it is but it’s art.’ Duh. I’m pretty proud of all my records, I’ve been very lucky in that I’ve always been able to maintain complete creative control but this one I was particularly proud of because every inch of it, from the recording which one track as you’ll see was recorded on my boom box, to the artwork, was all mine.”

                                                              Hamfatter

                                                              The Girl I Love

                                                              "The Girl I Love" is undoubtedly pop, but with an added layer of substance beneath the appealing and fashionable exterior. A sure fire winner with a hook you could hang you coat on. What materializes is a blistering chorus that is completely owned by the playful vocals and gaudy brass. Hamfatter are a clear pop talent. Crispy clean music, soft vocal and sugary lyrics that address sugar-free subjects.

                                                              Jan Hammer

                                                              The First Seven Days

                                                              Artistically and influentially Jan Hammer's "The First Seven Days" had a major impact on its release in 1975. It was one of the first attempts to fully realize a fusion of electronic, pianistic and progressive styles into a singular vision. Hammer's work with the Mahavishnu Orchestra enabled him to build his own studio at home in rural New York state and this pastoral setting infuses much of "The First Seven Days" with an underlying calm over which Hammer multi-tracks his keyboard frenzies and unique artistic vision. International success with "Miami Vice" was a decade away but this work is an amazing example of his talent as performer and composer.

                                                              With The Strokes fresh off their first European show in four years, guitarist Albert Hammond Jr. is focused on breaking an even longer seven year lull between solo LPs. ‘Momentary Madness’ is his third album after ‘Yours To Keep’ and ‘¿Cómo Te Llama?’.

                                                              The ten track album includes the singles ‘Born Slippy’ and ‘Losing Touch’.

                                                              ‘Momentary Masters’ features production from longtime Strokes engineer Gus Oberg. Unlike previous releases, Hammond called on the aid of a number of musicians for the recording sessions, including guitarists Mon Khmer’s Hammarsing Kharhmar and Bleachers’ Mikey Hart, bassist Jordan Brooks and drummer Jeremy Gustin.

                                                              This Hampshire & Foat project should not come as too much of a surprise to those familiar with Greg & Warren's music, influenced heavily by not just Jazz but the library sound of the 60s and 70s along with film soundtracks from the same golden era. Greg& Warren are avid collectors of this music, Greg sends me links night and day to LPs he has picked up digging on his travels. This constant search sends him down new musical pathways and often sparks a whole new concept for projects. Warren and Greg are both fiercely creative talented individuals which means we have to keep them working, a challenge for us all, but the music rewards the effort many times over. Side one is five tracks in very distinct styles, musical paintings for the big screen. The vast sound of the Japanese influenced Jasmine, The Spaghetti Western melancholy of Mariposa Lily, the call to action that is Antonio's Theme, The Breezy Vintage sports car in the sun that Coastal Drivepaints, and Lost in Nostalgia, a late night Poirotesk piece.

                                                              STAFF COMMENTS

                                                              Matt says: If "The Honeybear" saw the band languidly exploring an enchanted woodland by day, then "Night Shade" encapsulates the magic of said woodland at night; full of beguiling spirits and esoteric wanderings...

                                                              Millie says: Hampshire & Foat have yet again created a captivating album, this one is clearly packed with things that have influenced that and the result is a beautiful mix of ambient and folk.

                                                              Captured during two sunny afternoons in September 2017, The fourth LP by the much respected and collected duo, Hampshire and Foat, takes us to a new level of direct performance. Recorded live, with no overdubs, in two churches situated in Saint Lawrence on the south coast of the Isle of Wight, and mixed direct live onto a vintage stereo Nagra IV-S and AKG C24 Stereo microphone, every nuance of the performance is laid bare. Only the ambience of the room and the artists' skill make the recording what it is.

                                                              For a brace of sun soaked days, Warren and Greg were joined by their long time musical partners, Phil Achille and Eric Young, and a cadre of local musicians and friends, creating an album that truly captures the magical ambience of the churches and surrounding landscape - even the birds in the Church steeple can be heard at times. Tracks are named after local landmarks, secret beaches, and rural paths that Warren and Greg hold dear. The duo wanted to make something special and collectable for this unique ambient jazz folk gem, so the cover has been produced in a beautiful late '60s private press style and, limited to 500 copies on vinyl.

                                                              STAFF COMMENTS

                                                              Millie says: Recorded live, Saint Lawrence captures the duo’s ambient core with this stunning fourth album, matched with beautiful faded artwork of the church. Peaceful and captivating this release is one to treasure.

                                                              After the success of 'Galaxies Like Grains of Sand', Warren and Greg retreated back to the Isle of Wight to start work on long discussed concept album based on a fictional children's book The Honey Bear. Each track a chapter of the book, hypnotic folk pieces mixed with ambient field recordings that Warren and Greg collected around the beaches, cliffs and gardens of the island.

                                                              They brought everything together at home, organically forming this beautiful ambient folk tale during the island's idyllic summer evenings. After finishing the initial mixes on the island they brought the tapes up to Scotland and overdubbed with Strings, Oboe and Flute. Whether your 5 or 50, the charm and beauty of The Honeybear is undeniable.

                                                              Children fairytale book concept album
                                                              Limited Edition pressing



                                                              STAFF COMMENTS

                                                              Millie says: The Honeybear beautifully captures the soft mystical tones of this harrowing ambient folk album following their previous record 'Galaxies Like Grain Of Sand'. The inspiration behind the album of it being a children’s fairytale, you can immediately get the sense of the whimsical innocence by the lovely fluttering of string instruments.


                                                              Greg Foat's 9th album 'The Mage' joins the dots between the past and future of British jazz. Enlisting the talenst of jazz/library/soundtrack legends Duncan Lamont, Art Themen, Ray Russell and Clark Tracey to collaborate with their modern contemporaries Greg Foat, Moses Boyd and Heliocentric's drummer Malcolm Catto to create something undeniably British but outward looking and global.

                                                              A long time personal ambition for Greg was to work with Trinidadian songstress Kathy Garcia, on 'The Mage', this wish is granted as she joins him to re-imagine the deep Xian masterpiece 'Of my Hands', 45 years after recording it as a young girl.

                                                              Greg's compositions and arrangements showcase the old and new, downtempo folkscapes, free jazz with notes of hip-hop and soul from the young team flavouring the mix. Featuring Simon Ljungman and Friends as a male choir, Greg's EMS Synthi AKS experiments (made famous by Dr Who) the album is a testament to the versatility and pure musicality of all those involved and Greg Foat's ability to bring artists together to record beautiful, timeless music.



                                                              STAFF COMMENTS

                                                              Barry says: Is there anything Hampshire and Foat can't do? We've had their downbeat folky LP, their stunning take on modern-classical and ambient, and now their newest outing maintains the jazzy undercurrent so prevalent in their previous works, but this time adding in a dreamy eastern tinge. Beautifully hazy and thoroughly superb.

                                                              Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis.

                                                              As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.

                                                              'Head Hunters' (1973) was the first offering of Herbie's new backing band, the Head Hunters. In his own words: "I began to feel that I had been spending so much time exploring the upper atmosphere of music and the more ethereal kind of far-out spacey stuff. Now there was this need to take some more of the earth and to feel a little more tethered; a connection to the earth....I was beginning to feel that we (the sextet) were playing this heavy kind of music, and I was tired of everything being heavy. I wanted to play something lighter."

                                                              This is one of Herbie's funkiest records and one of the best selling albums in Jazz, due to the fact it appealed to a broad audience - think hip hop, funk, soul and jazz funk fans. With 'Head Hunters', Hancock claims a stake in jazz with his infectuous synthesizers and clavinet melodies on top of a supertight groove, augmented by subtile horn soloing. Classic songs such as "Chameleon" and "Watermelon Man" are living proof of his genius and ability to craft a coherent jazz fusion album. Special mention for drummer Harvey Mason, bassist Paul Jackson and reedist Bernie Maupin (who also contributed to Miles Davis' Bitches Brew

                                                              FORMAT INFORMATION

                                                              Ltd LP Info: 180g audiophile pressing.

                                                              This release has never been officially issued on vinyl outside of Japan. “Dedication” is a unique Herbie Hancock outing in more ways than one. This is a solo Hancock release, all sounds heard on this recording are Hancock at the keyboards, be it an acoustic piano, a Fender Rhodes or a synth. The result being a recording that’s full of air and space, yet thoroughly funky. The project was recorded live in Tokyo in July of 1974 and never saw release outside of Japan until well into the 21st century. No official vinyl issue has ever happened outside of Japan where the LP has been out of print for decades. There's some amazingly futurist soundscapes contained within Hancock's funky ass keys work, "Nobu" indeed, being sampled by one Radio Slave for an extended tribal adventure. It further cements Hancock's rock solid legacy as a true musical pioneer. Check!

                                                              Herbie’s classic debut album was originally recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 28th May 1962.
                                                              Featuring a truly impressive quintet of Freddie Hubbard (trumpet), Dexter Gordon (tenor), Butch Warren (bass) and Billy Higgins (drums), "Takin' Off" is rooted firmly in hard bop but also showcasing the exquisite ballad ‘Alone And I’.
                                                              Features the all-time classic Herbie standard ‘Watermelon Man’, a top 100 pop hit for Herbie and #10 hit for Mongo Santamaria. The famous cover art was designed and photographed by Reid Miles.

                                                              Herbie Hancock, Michael Brecker, Roy Hargrove

                                                              Directions In Music

                                                                Revisiting some classic jazz compositions, Coltrane's "Naima" and "Transition" as well as Hancock's own "The Sorcerer" amongst them, Brecker, Hargrove and Hancock turn in a evocation of the spirit of John Coltrane and Miles Davis, recorded live in concert at Toronto's Massey Hall. Supported by a rhythm section of Brian Blade and John Patitucci, they have produced a remarkable homage to the 'new direction' in jazz led by Coltrane and Davis in the 50s and 60s.

                                                                Hand Habits

                                                                Placeholder

                                                                  Meg Duffy grew up in a small town in Upstate New York and they cut their teeth as a session guitarist and touring member of Kevin Morby’s band. The Hand Habits project emerged after Meg moved to Los Angeles; it started as a private songwriting outlet but soon evolved into a fully-fledged band with Meg at the helm. Hand Habits’ debut album, Wildly Idle (Humble Before The Void), was released by Woodsist Records in 2017. The LP was entirely self-produced and recorded in Meg’s home during spare moments when they weren’t touring. Wildly Idle (Humble Before The Void) is a lush, homespun collection of folk songs that found Meg in an exploratory state as an artist moving out on their own for the first time.

                                                                  Two years later, Hand Habits has returned with their sophomore album, placeholder. To make this album, Meg chose to work in a studio and bring in collaborators, entrusting them with what had previously been a very personal creative process. Over the course of 12 tracks, Meg emerges with new confidence as both a bandleader and singer. This album is as tender and immediate as anything Meg’s ever written, but it’s also intensely focused and refined, the work of a meticulous musician ready to share their singular vision with the world.

                                                                  The name placeholder stems from Meg’s fascination with the undefinable. Their songs serve as openings -- carved-out spaces waiting to be endowed with meaning. As a lyricist, Meg is drawn to the in-between, and the songs on this new album primarily confront the ways in which certain experiences can serve as a stepping stone on the road to self-discovery. “A big aspect of my songwriting and the way I move through the world depends on my relationships with people. The songs on placeholder are about accountability and forgiveness,” Meg says. “These are all real stories. I don’t fictionalize much.”

                                                                  Meg describes these songs as their most direct to date, crafted with clear intention, and unlike Wildly Humble (Idle Before The Void), placeholder doesn’t meander. “It’s less of a submerged landscape and more a concise series of thoughts,” Meg explains. Instrumentally, placeholder can be situated alongside some of Meg’s folk-adjacent contemporaries like Angel Olsen or Big Thief, and the guitar work on this album proves that Meg continues to be one of the finest young musicians working today. placeholder is another entry in the Hand Habits songbook, but it’s also a valuable testament of our time. While placeholder inspires a sense of ease, simple questions rarely beget easy answers and Meg honors the indescribable joy and profound sorrow that comes with figuring things out, one step at a time.


                                                                  Handsome Devil

                                                                  Love And Kisses From The Underground

                                                                  Handsome Devil is the latest in a line of punk-fuelled rock bands to come out of California. Their influences range from punk fore-fathers, Social Distortion, to today's punk flag-wavers, Offspring. Extensive touring earned them a spot on the world famous Warped Tour and they're tipped for big things in the near future. The album has a pure punk energy and attitude, with a nod to true rock bombast.

                                                                  Black Beacon Sound bring it for their second release on this flourishing label. Hang Syem trade in swinging analogue house, brimming with 909 kicks and atmospheric synth swells. 'Frontier J' heads straight for the dancefloor, bringing gutsy analogue kicks and shuffled hats together with infrequent cosmic bass throbs and scattered vocal snippets. The flipside is a slightly more atmospheric affair, swapping out the 4-to-the-floor kicks with an afro-tinged percussive shuffler. The vocal shards are still present, but gated by the skittering hats this time to give a sense of space, and room to focus more intently on the minimalistic and hypnotic rhythmic counterpoint. 

                                                                  STAFF COMMENTS

                                                                  Barry says: Another fantastic outing for this fledging label. This time around we get minimal housey atmospherics and dusty drum machine workouts. If they keep this up, they'll have a huge following in no time.

                                                                  Hangedup

                                                                  Clatter For Control

                                                                  This is the third full length by the viola and drums duo of Montreal's Hangedup, who've been mesmerising audiences, while pushing the boundaries of what a bow and a pair of drumsticks can conjure since 1999. "Clatter For Control" finds the band utterly on fire, swooping and slamming around with varying degrees of controlled chaos. Both noisier and more melodic than anything they've yet put to tape, they raise their compostional and improvisational bars on this album.

                                                                  Hank IV

                                                                  III

                                                                    I don’t care how many goddamn cute hobo bands there are out there right now. Not two runny shits. There’s something Hank IV knows that few other current “of interest” bands realize, and it’s a painfully simple thing: guitars were meant to sound like this, not that (pick something). That’s as plainly as it can be put. This is twin-guitar punk rock in a class of its own, driving more than dueling and hot-sauce-free. I’d say 'power with taste' but then I’d have to kill myself. I will say that III is Hank Baby’s third and finest album yet and they are, in short, a band whose every move is worthy of your utmost attention.

                                                                    'For this record (their second for Siltbreeze), Thee Hanks opted to spend zero dollars and buried themselves deep inside their very own Shill Building studio for a good, long while. Sightings became scarce. Promises of “work” being “done” were made but who really knew what was going on? To be fair, The Shill has its fair share of distractions. Imagine Plato’s Retreat, except like a basement in the Tenderloin. I think they only went outside for sandwiches from the East Coast West Deli on Polk Street, like that one time in the street when Bob McDonald told me about that Venom single he owns for the seventeenth time. Pffft… Bob, playboy, inventor (of “The Full Compliment”) and as powerful and confounding a front-man as you’re likely to find ambulating in today’s scene. Hawnk Quatre (as they’re called in France) is both an exercise and exorcism for this hardcore guy from Bum Kon all grown-up. “Anyway, the result of their self-imposed exile is this album bearing the aroma of fuck you coupled with a faint flutter of fuck me. It’s eight songs in 25 minutes of loud, angry, intelligent, rock ’n’ roll punk and it’s from San Francisco. Beyond that, the rhythms actually have a rhythm—a loud, all-rock rhythm, in fact. It’s shocking and practically akin to reinventing the wheel ’round these un-rocking parts. Great—and now the world’ll probably explode. Do I gotta pick a cut to exalt? “Down in the Dumps” springs forth. Hopefully the punks follow suit. Portfolio played it for me when I visited and he just sat back, smiling. I was too. It was creepy.” —Mitch Cardwell “Hank IV plays desperate man-style punk in the vein of Minute to Prayera Flesheaters. Throw in some of the sociopathic scorch of The Pagans and touches of earlier Siltbreeze satellites like Thomas Jefferson Slave Apartments and you got a great pro-rock primitive, one that combines accelerated jams with gut-busting vocals and the kinda furious delivery that makes it sound totally non-contemporary'. —Volcanic Tongue.

                                                                    FORMAT INFORMATION

                                                                    Ltd LP includes MP3 Download Code.

                                                                    Hanna

                                                                    I Needed / Intercession, On Behalf

                                                                    Melodies International’s 18th release and it’s a biggie, presenting two of their favourite tracks by Chicago based house virtuoso Warren Harris aka Hanna: I Needed / Intercession, On Behalf. Blending deep house vibes with broken beat, soulful vocals creates this dancefloor anthem.

                                                                    STAFF COMMENTS

                                                                    Sil says: Hanna is back. I have a Hanna 12", it is called 'Time'. I bought it after someone played at Sankey's one night. Unadultered soulful American deep house. The formula is tried and proven to work. Nothing new here but plenty of quality for y'all!


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