MAGIC MIX

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BACK CATALOGUE - H

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

              Hannah Lou Clark

              It's Your Love

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

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

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

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

                Hannah Cohen

                Pleasure Boy

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

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

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

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

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

                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


                  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.

                  Hanni El Khatib

                  Flight

                    Hanni El Khatib, the definitive purveyor of visceral, blues-wracked, punk-spiked, soulwarped, knife-fight rock n’ roll who artfully blends serrated guitars with his love for hiphop, releases his fifth album FLIGHT, produced by and recorded with long-time friend Leon Michels (El Michels Affair, Lana Del Rey, Rick Ross, Travis Scott, A$AP Rocky, and Eminem).

                    From 2010 until 2017, when he released his previous albums, there was the usual cycle that consumes most working musicians: make an album, tour it, return home, rinse and repeat. And with it came the predictable pitfalls that ensnare too many artists - It is a dream until that one night when it isn’t any longer, and despite his gratitude for his fans, El Khatib found himself wracked by depression and anxiety. It became readily apparent that if he didn’t make drastic changes to his lifestyle, there might not be a life to speak of. So he quit drinking, stopped touring, and took an indefinite hiatus from the studio. But eventually, the desire to create songs slowly returned.

                    What would eventually become El Khatib’s fifth studio album, the virtuosic but characteristically raw FLIGHT, began as spontaneous experimentation. The finished result is a rollicking sampledelic opus that recalls the beautiful chaos that the Dust Brothers created on Paul’s Boutique and Odelay. It’s the type of thing that Dilla and Madlib would’ve created if they had come up on The Cramps.

                    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.

                    Hazel English

                    Wake Up

                      Wake UP! is the debut album from Californian-based singer songwriter Hazel English. It features the 60s psych-influenced single Shaking, written by Hazel and frequent collaborator Blake Stranathan (Lana Del Rey) as well as timeless dream-pop tunes Off My Mind and Five And Dime. The album was recorded over a two year period and made in LA with super-producer Justin Raisen (Sky Ferreira, Charli XCX, Angel Olsen) and in Atlanta with Ben H. Allen (Deerhunter, M.I.A, Animal Collective).

                      FORMAT INFORMATION

                      LP Info: Black vinyl, gatefold sleeve.

                      CD Info: Digipak.

                      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.

                            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.

                              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

                                Neil Michael Hagerty

                                Plays That Good Old Rock And Roll

                                Great mix of down country and twisted rock 'n' roll from this ex-Royal Trux man.

                                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.

                                        Haim

                                        Women In Music Pt. III

                                          Haim return with their third album Women In Music Pt. III. The album was produced by the trio’s frequent collaborators Rostam Batmanglij and Ariel Rechtshaid. Standout tracks include The Steps which pushes guitar to the forefront in a way the band has not done before. Clean, chorused electric guitar, overdriven lead lines, and strummed acoustic 12-Strings lock in together to generate what feels like an endless chug. The result is one of Haim’s fastest and heaviest songs to date. The breezy and beautiful Summer Girl, poignant reflective ballad Hallelujah and emotionally charged Now I'm In It are all gems.


                                          FORMAT INFORMATION

                                          2xColoured LP Info: Indies Exclusive Vinyl. Yellow Double Vinyl Gatefold with Printed Inner Bags.

                                          2xLP Info: Black Vinyl with Gatefold and Printed Inner Bags.

                                          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.

                                            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.

                                              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.

                                                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…

                                                Nick Hakim

                                                Will This Make Me Good

                                                  In 2017, Hakim’s debut album, the critically acclaimed ‘Green Twins’, announced the singersongwriter as an idiosyncratic talent, making music that resists genre classification.

                                                  You could work a song of his into an HBO original series, as ‘Insecure’ did; you could smoke to it and wonder about your ego; you could slow dance with the person you love—it’s not versatility, so much as a lack of boundaries and a strong sense of intuition. In between albums, musical ideas still came and he worked with his peers, some including Onyx Collective, Anderson .Paak, Jesse and Forever, Lianne La Havas, and Slingbaum, but there came a time for Nick to dive into his own songwriting again, and ‘Will This Make Me Good’ is the result of this.

                                                  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.

                                                      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.

                                                      Erik Hall

                                                      Music For 18 Musicians (Steve Reich)

                                                        A re-interpretation so often comes from an impulse, even if subliminal, of oneupmanship - let me do better, wait 'til you hear it my way. Sometimes though, and it happens too rarely, the cover is an act of devotion in which a musician's humility produces something more beautiful than bravura could. When Erik Hall undertook his painstaking reconstruction of Steve Reich's 1976 masterpiece of minimalism, Music for 18 Musicians, it was as much an exercise in modesty as ambition. With its repetitions and complex constructions, the piece makes great demands on stamina and concentration, and Reich himself advised that these challenges meant it should probably be performed with more than eighteen musicians. Hall, however, recorded every part himself in his small home studio, playing instruments he had on hand, in live, single takes. Here, then is the ambition. But here too is the modesty: by doing one section a day, one instrument at a time, he made his way through this monumental piece, building a faithful and loving re-creation, one sonic brick at a time. Xylophone becomes muted piano, violin becomes electric guitar and so it is that music for eighteen becomes music for one. "I didn't want the differences to be distracting, or gimmicky," says Hall, who's loved the piece for as long as he can remember. "I wanted it to be true to the timbre and spirit of the original recording," and he thought a great deal about, "how I would shape the tone of each instrument, to come across with the same impact that we know the piece to have." His methodology, as with Reich's piece itself, is workmanlike, and it's from this humble and steadfast undertaking that something honest and radiant emerges.

                                                        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.

                                                          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.

                                                          Motohiko Hamase

                                                          #Notes Of Forestry

                                                            WRWTFWW Records is excited to announce the official reissue of Motohiko Hamase’s remarkable ambient/environmental/minimalism project #Notes of Forestry, available for the first time since 1988. The album is sourced from original masters and available on vinyl and CD with liner notes from the artist. This marks the third release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano.

                                                            One of the most fascinating and peculiar works from the golden era of Japanese ambient, #Notes of Forestry was initially released in 1988 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. Conceived by Jazz bassist turned experimentalist Motohiko Hamase, the magnum opus offers an enchanting mix of free-form pastoral electronics, otherworldly percussions by Yasunori Yamaguchi, and delightfully allusive piano played by none other than Satsuki Shibano (Sound Process’ Wave Notation 3).

                                                            Vibrant, sometimes eerie, and absolutely captivating, #Forestry captures Hamase’s quest for musical freedom, he explains:

                                                            "Inside the body of a musician, music is always transcendentally resonating. More than
                                                            language, music reigns. When creating music overlaps with the moment my body performs, I
                                                            strive to be as close as possible to the feeling of musical freedom. I feel that this notion lies at
                                                            the foundation of this album".

                                                            Musical freedom, here, provides an essential escape, extending the path uncovered by pivotal releases such as Midori Takada’s Through The Looking Glass, Satoshi Ashikawa’s Still Way, and Yutaka Hiros’s Nova.


                                                            Motohiko Hamase

                                                            Anecdote

                                                              WRWTFWW Records is proud to announce the official reissue of Motohiko Hamase’s extremely rare live album Anecdote (recorded in 1987). The album is sourced from original masters and available on vinyl (double LP) for the first time ever as well as on CD. It comes with liner notes from the artist. This marks the sixth release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano.

                                                              Anecdote was recorded live June 12th 1987 at Spiral Garden (Wacoal Art Center) in Aoyama (Tokyo) as part of the Eat Newsic Concert No.3. Motohiko Hamase on electric fretless bass, synthesizers and computer programming, is accompanied by frequent collaborators Toshio Kaji on acoustic piano and synthesizers, and Yasunori Yamaguchi (of #Notes of Forestry fame) on acoustic percussions. The three-man band improvises around Hamase’s unique repertoire of ambient and electronic music, reinterpreting pieces from his albums Reminiscence, Intaglio, and #Notes of Forestry.

                                                              It’s environmental and minimalist experiments with a jazz soul, three brilliant musicians flowing to blissful heights, and a beautiful testament to the 80s Japanese ambient scene that gave birth to seminal releases by Midori Takada, Satoshi Ashikawa, Yutaka Hirose and many more. Essential.

                                                              The live album came out on CD only in 1993 on Motohiko Hamase’s Lung Records.

                                                              Motohiko Hamase

                                                              Technodrome

                                                                WRWTFWW Records is very happy to announce the official reissue of Motohiko Hamase’s astounding ambient house album Technodrome (1993). The album is sourced from original masters and available on vinyl for the first time ever as well as on CD. It comes with liner notes from the artist. This marks the fourth release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano.

                                                                Inspired by John Cage, Jon Hassel, Brian Eno, and the emergence of house and techno music, Technodrome is jazz bassist turned electronic experimentalist Motohiko Hamase’s foray into what he calls ambient house or, as he explains, "using the gritty sensation inherent to the core of house music" to create an ambient record "aiming to express inverted images, optical illusions, and the sense of déjà vu that modern people can get in the city".

                                                                Technodrome is constructed around innovative minimalism, a robotic funk orchestrated by bass lines and percussions, and monochrome moods. It’s the most intriguing project in Hamase’s discography, a ghostly ride set in 90s urban landscape, where repetition sets the groove and brings things to life, echoing Hamase’s deeper subtext for his compositions: "and attempt to recreate (as metaphor) the time in our mother's womb".

                                                                The album was initially released in 1993 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. 

                                                                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.

                                                                Roy Hamilton / H.B. Barnum

                                                                Earthquake / It Hurts Too Much To Cry

                                                                  Outta Sight’s collectable ‘Classics’ series continues with two real heavyweight’s of the rare soul scene, face-to-face for the very first time. Together, these two icons helped define, not only Northern Soul, but the soul music genre… and now, almost sixty years on, they go head to head.

                                                                  In the blue corner is former commercial artist and amateur heavyweight boxer Mr Roy Hamilton who set the dancefloors trembling across the North of England when his 1962 “Earthquake” was finally unleashed on the Northern Soul scene. Hamilton was already a huge star in America scoring two R&B No.1’s in 1954 and ’55 with the standards “You’ll Never Walk Alone” and “Unchned Melody”. But, he will forever be remembered in the U.K. for his Northern anthems “Crackin’ Up Over You”, “The Panic Is On”, “You Shook Me Up” and the explosive “Earthquake”.

                                                                  In the red corner is the multi-talented actor, pianist, arranger, producer, songwriter and singer Mr H. B. Barnum who’s early belter “It Hurts Too Much To Cry” belies its 1962 recording date. Barnum also scored on the rare soul scene with “Three Rooms With Running Water”, “The Record” and the awesome “Heartbreaker”. But his contribution far exceeds his personal output with writer, producer and arranger credits on a slue of floorfillers inlcuding Judy Street’s “What”, Earl Wright’s “Thumb A Ride” and The Magnificents’ ”My Heart Is Calling You”, to name but a few.

                                                                  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.

                                                                  Johnny Hammond

                                                                  Los Conquistadores Chocolates (Moplen Remixes)

                                                                    Moplen returns with one of his personal all time favorites, “Los Conquistadores Chocolates” from Johnny Hammond’s first album release on the legendary Milestone Records label!

                                                                    A jazz/funk masterpiece which became in its original form popular in the NYC underground club scene thanks to David Mancuso and his ‘Loft” parties. Moplen gave the tracks a more ‘club’ orientated feel, where the wide variety of original instruments are highlighted into 2 remixes featured on this first bonafide 12” ever made of “Los Conquistadores Chocolate”.

                                                                    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.


                                                                        The elusive HAND camp drop some more illicit offerings simple alluding to their tempo on the forth secret missive from the label.

                                                                        With tempos from 120-128BPM you know what realm we're here don't you folks? HOUSE MUSIC! With gated drums, analogue synths, stepped sequences and loads of dubbed out fx I think we can hone in even further to the source material - I'd say these are proto-house cuts from between '84 - '88 but obviously don't quote me on that.

                                                                        No IDs from my end I'm afraid, TBH they MIGHT even be original traxx, just executed in that classic vintage style... The quality is HIGH GRADE; I guarantee these are gonna go off in the dance. Stop thinking just buy it! 


                                                                        Handle

                                                                        In Threes

                                                                          Incorporating a diverse range of influences, from samba to no wave, Handle, a three-piece from Manchester (now based between Manchester / London / Brussels) made up of Giulio Erasmus and Nirvana Heire former members of D.U.D.S (the first British band to sign to Castle Face) and Leo Hermitt, a genderqueer multidisciplinary artist, renowned for their challenging, thought-provoking work on the city’s arts and literary scenes. The group mesh politics with a trans experience of time and a vibrant, avant-garde freedom of approach.

                                                                          Handle make a uniquely minimal sound, buoyed by poetic, urgent vocals. Each instrument (bass, drums, keyboard and voice) is permitted its own space, yet somehow the result is a brilliantly unified yet understated sonic experience that demands then commands your attention.

                                                                          Powered by looping, hypnotic synth lines, quaking flexes of bass, clattering tribal percussion and expeditious, often agitated vocals that cordially sprint, Handle's songs – all of which clock in around the two minute mark – owe as much to performance poetry as they do to the vibrancy of post-punk and new wave. In these times of anxiety and confusion, Handle provide a much-needed dose of musical catharsis, albeit disorientating at times, pre-empting sense from the shards of sound they gather about themselves. 'Life’s Work' begins with isolated swells of pitch before driving full throttle into an exuberant rhythmic workout. 'Sunday Morning' shares this elasticated feel for melody and communication, twisting about itself in rubbery fashion. 'Coagulate' is more disembodied from the pulse, but similarly retains a boldness of vision.

                                                                          'Step By Step' showcases what Handle excel at, it's a clangorous leviathan of beat-forward dance punk, peppered with Leo's fluid vocal inertia. It's dizzying yet divinely exuberant. 'Punctured Time' evokes the same cascading flow "Punctured time, bicycle wheel, what if I told you that your lips were like venus, lips were like what? Lips were like venus and that my tongue was a trampoline?" sings Leo amid undulating bass, toppling drums and jabs of keyboard ambience.

                                                                          Handle make music occupied by dark shapes that move beneath a roiling surface. Jolting, shattering, cracking, smoothed, bounded, punctuated. Handle's debut album ‘In Threes’ is a collection of frenetic sounds for frenzied forms. 'In Threes' was recorded and mixed by Robin Williams and follows on from the band's previous EP 'Demonstrations', released through their own imprint Absolute Fiction. 


                                                                          STAFF COMMENTS

                                                                          Barry says: 'In Threes' is a brilliantly diverse, oddball suite of clashing grooves and jagged melodies. Sonically interesting, thematically consistent and ram-packed with influences from all over the musical spectrum. What a trip.

                                                                          FORMAT INFORMATION

                                                                          Ltd LP Info: Limited 180g black vinyl 500 Only .

                                                                          CD Info: Digipak CD 500 Only.

                                                                          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.

                                                                          The Handsome Family

                                                                          Odessa

                                                                            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.

                                                                              Hannah Williams & The Affirmations

                                                                              50 Foot Woman - The Instrumentals

                                                                              Record Kicks Is Proud To Present The Instrumentals From 2019's Critically Acclaimed Album "50 FOOT WOMAN" By Hannah Williams & The Affirmations. Recorded Strictly On Tape At ATA Records And Mixed And Produced By Shawn Lee, This Album Captures All Of The Visceral Power Of The Affirmations.

                                                                              Hannah Williams Turned Heads Worldwide When The Hip-hop Superstar Jay-Z Sampled Her Heart-stopping Vocals On 'Late Nights & Heartbreak' For The Title Track, '4.44' On His 2017 Album. With The New Album 50 FOOT WOMAN, Released Last October 18th On The Milan Based Imprint Record Kicks, Hannah And Her Exemplary, Bristol-based Band The Affirmations Delivered A Definitive Career Statement.

                                                                              FORMAT INFORMATION

                                                                              LP Info: Limited Edition Clear Vinyl

                                                                              Hannas Barber perpetuate their nine bar blues schtick with "Don't Buy The Sun", and EP of intricately structured melodic electronica. From the live jam intro of "Possibly...Self Inflicted" to the heavily re-worked final track "Fatal Exception" this record refuses to be pinned down, instead taking the listener through a space generating soundscape.

                                                                              FORMAT INFORMATION

                                                                              12" Info: Six track EP. 500 copies only.

                                                                              Marla Hansen

                                                                              Dust

                                                                                Having worked for years as side-woman for the likes of Sufjan Stevens, The National and My Brightest Diamond, Marla Hansen returns with her first solo album in twelve years. "Dust" has the weight and wisdom of hand-me-down folk songs, but also sparkles with the confidence and the excitement of an artist with new colours on her palette. The slow-burn of "Dust's" inception can be felt as the album plays. The tracks have weight and wisdom like hand-me-down folk songs, but also sparkle with the confidence and the excitement of an artist with new colours on her palette. Taylor Savvy (Peaches), Knox Chandler (R.E.M.) and Christian Biegai (Antony and the Johnsons) are all present at this banquet - a transatlantic tapestry sewn together by producer Robbie Moore at his Berlin studio complex Impression Recordings.

                                                                                Bo Hansson

                                                                                The Lord Of The Rings

                                                                                The second disc inspired by Tolkein's "The Lord Of The Rings" sticks much closer to following the actual narrative than the more expressionistic version by the Nazgul also available this week. With tracks called "Leaving Shire", "The Horns Of Rohan" and "The Battle Of The Pelennor Field", this 1969 instrumental odyssey was well received in its day and Hansson is a brilliant keyboard player. This is remastered with new sleeve notes.

                                                                                This latest sonic lullaby on Belgium's Ekster sees Han Swolfs turn our senses to more classic and jazz infused pieces, improvised almost entirely on winged piano. “Gazebo Compositions” serves as a well deserved moment of repose after Han’s more energetic electronic releases, returning to his roots in the jazzier end of the neo-classical spectrum. Inspired by a video-work by Jef Cornelis, Han translates moods and impressions of youthful memories and his relation to the artist using a technique similar to Ecriture Automatique. Eyes closed, heart open, Han drifts through serene Satie-inspired simplicity, the tonal shifts of Ahmed Jamal and the endless yearning of Schumann's 'Kinderszenen", while retaining his own unique voice. Find Belgian duality in full bloom on this perfect summer release.

                                                                                STAFF COMMENTS

                                                                                Patrick says: Coming out of the far left field to blow me away, this latest offering from Hantrax and Ekster is a stunning set of solo piano works. Inspired by childhood themes and the video work of Jef Cornelis, "Gazebo Compositions" fuses jazz, neo classical and ambient into a thing of true beauty.

                                                                                New shit from the faultlessly up-to-date Whities label. I talked at the start of the year about hybridization across dance music and this is demonstrated brilliantly on this cross-genre romp from electronica stalwart Happa. Combining myriad elements, all with a multidimensional and holographic approach, "Clip" is like Hudson Mohawk and Lunice's TNGHT moniker taken underground into the city's sewers and drizzled in some mutant plasma. Imagine a scene out of Teenage Mutant Hero Turtles set in 3030AD and a marauding band of mutant ravers going of it to DJ Crank.

                                                                                "One Three Five" explores those advanced half-time areas that Whities' fans love so much and adds some warehouse friendly M1 stabs. It's a captivating, sweeping and wholly transportive listen that again cements label and producer as market leaders of all things fresh and electronic related. If you've a penchant for the new you need this! 


                                                                                STAFF COMMENTS

                                                                                Matt says: As always, Whities detail the sonic topography of the emerging sonic terrain before us mere mortals have discovered it.

                                                                                Happy Mondays

                                                                                ...Yes Please!

                                                                                  ‘...Yes Please!’ was the last Happy Mondays album on Factory Records. It was produced by Talking Heads’ Tina Weymouth and Chris Frantz and reached number 14 in the UK chart. Artwork lovingly replicated by original Manchester designers Central Station Design. Features the singles “Stinkin´ Thinkin”, “Sunshine & Love” and “Angel”.

                                                                                  STAFF COMMENTS

                                                                                  Andy says: "Yes Please" signaled the chaotic end of the Happy Mondays but it's still really interesting with it's tasty Talking Heads production and "Stinking Thinking" is one of the best things they ever did.

                                                                                  Happy Mondays

                                                                                  Bummed

                                                                                    Like many an influential album in rock history, the cultural significance of Happy Monday’ Bummed was apparent to precious few listeners upon its first release on 5 November 1988. Within a decade or two, Bummed would be hailed as one of the best records of the ’80s, often by the self-same publications that had slated it back in the day – a harbinger of the seismic shift about to take place in British popular music, away from the squeaky-clean, corporately ordained pop-radio fodder which had increasingly dominated the charts since punk, and back towards the more aggressive, unruly and experience-hungry urges which had always pulsed through rock ‘n’ roll.

                                                                                    With artwork lovingly replicated by original Manchester designers Central Station Design, this album is on vinyl for the first time since it’s original release.

                                                                                    Featured the singles “Wrote For Luck” and “Lazyitis - One Armed Boxer”

                                                                                    STAFF COMMENTS

                                                                                    Andy says: The Martin Hannett produced "Bummed" was a huge step up (and on!) from their debut record. Cavernous and rambling, heavy and churning, the tunes here were much more direct whilst the grooves were (can we say it?) BAGGY as fuck! One of Factory Records' greatest ever releases.

                                                                                    Happy Mondays

                                                                                    Pills 'N' Thrills And Bellyaches

                                                                                      Happy Mondays formed in 1980 and were signed by Tony Wilson to Factory Records. While their first album 'Squirrel And G-Man' had been all ramshackle ramblings and jarring grooves, by their second album 'Bummed' they were already showing signs of what was to come on 'Pills and Thrills' with off kilter funky grooves carrying Sean's sneering nonsensicle lyrics. 

                                                                                      By 1990, 'Madchester' was in full swing, this was the time of the indie-dance crossover. Previously there had been a very distinct line drawn between these two genre's which was rarely (if ever) crossed, but rave culture and Ecstacy had erased such rigid barriers and with DJ Paul Oakenfold more dancefloor orientated production, the Mondays embraced this change and added loose (ok, yes, baggy) psychedelic grooves to their uncompromising lyrics and shady tales. This album (along with Primal Scream's 'Screamadelica') came to defined this indie-funk-psych-rave melding of genres and hedonistic scene perfectly. 

                                                                                      STAFF COMMENTS

                                                                                      Andy says: The Mondays first "pop" (but not really) LP was produced by superstar DJ Paul Oakenfold and featured their biggest hit, the superb "Kinky Afro". This was their time,and they didn't fail to deliver.

                                                                                      Happy Mondays

                                                                                      Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)

                                                                                        Released in April 1987, the Happy Mondays debut album was a perfect snapshot of a very different kind of pop culture coming from beyond the fringes. It would be an underground album but a game changer. Produced by Velvet Underground legend, John Cale, this was the accidental sound track for the endless housing estates sailing away from Manchester City centre and into Salford-perfectly captured by this gang of misfits.

                                                                                        With artwork lovingly replicated by original Manchester designers Central Station Design, this album is on vinyl for the first time since it’s original release. Features the singles “Tart Tart” and “24 Hour Party People”.

                                                                                        STAFF COMMENTS

                                                                                        Andy says: Totally original, eternally rhythmical, post-punk/funk topped with Shaun Ryder's inimitable drawl. A proper band fronted by two cartoonish magicians in Shaun and Bez. Amazing, reallu.


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