2020s Sale 333 Items

Limited to 500 red copies.

Red vinyl edition, in Germany, Austria and Switzerland with 1000 copies exclusive to HHV customers. Madonna is the first and only recording artist to have 50 #1 hits on any single Billboard chart. To celebrate this historic milestone, Madonna curated a new 50-track collection titled Finally Enough Love: 50 Number Ones which includes her favourite remixes of those chart-topping dance hits that have filled clubs worldwide for four decades as well as an abridged 16-track version, titled Finally Enough Love. This 140-gram 2LP gatefold jacket includes single covers and a track-by-track on all featured 16 number one singles.

This collection highlights You Can Dance, Madonna’s first ever remix collection. Celebrating 35 years this year, You Can Dance has sold more than five million copies worldwide and is still the second best-selling remix album of all time. The collection also pays homage to “Everybody,” Madonna’s first single. Each remix was newly remastered for the collection by Mike Dean, who produced Madonna’s two most-recent studio albums, Rebel Heart (2015) and Madame X (2019). Along with those rarities, this album also introduces the “Offer Nissim Promo Mix” of “Living For Love” as its first official release.

Limited to 200 copies for the European market.

Limited to 300 copies coming with an worldwide exclusive 7" Flexi-Disc.

Produced by long-time collaborator Barney Lister (the pair recently won an Ivor Novello award for Best Song Musically and Lyrically for previous EP track "God's Own Children") "Try" is the opening track to Obongjayar's debut album "Some Nights I Dream of Doors" and its latest single. Steven Umoh grew up in Calabar, Nigeria. He was raised by his grandmother; his mother had moved to the UK to escape Umoh's father, who was abusive. Early in his life, he primarily listened to bootleg rap, particularly Eminem, Usher, Nelly, Snoop Dogg and Ciara. Umoh moved to live with his mother in England at the age of 17, but stayed active in the Nigerian music scene. He grew up a devoutly religious Christian, but became less so after he attended university in Norwich. In college he sang primarily in an American accent, influenced by his childhood spent listening to American hip hop music, but he transitioned to singing in his natural Nigerian-British accent before embarking on his professional career. Obongjayar's music has been called "hard to describe", incorporating elements of afrobeat, spoken word, soul, and electronic music. His lyrics incorporate spiritual overtones, although they are not readily identifiable with any specific religious tradition. A unifying feature of all of Obongjayar's music is his very deep voice, which slides between rapping, singing, and spoken word.

Iranian-American singer-songwriter Rahill announces a deeply personal solo project ‘Flowers At Your Feet’ on Ninja Tune imprint Big Dada, her new label home in which she sits comfortably alongside labelmates Yaya Bey and Lyzza.

The album – which across its 14 tracks features collaborations with Beck and Jasper Marsalis (Slauson Malone) – follows Rahill’s nostalgic 2022 covers EP ‘Sun Songs’ and sees her moving along a journey of self-acceptance and self-love; reflecting on childhood and family while honouring the people and moments that defined her. The project draws on elements of trip-hop, jazz and alt-rock music, all underpinned by Rahill’s reverent and thoughtful lyricism. Recorded in phases during the lockdown, the album was created in close collaboration between Rahill and producer Alex Epton (fka Twigs, Arca) who immediately identified the strength and potential of Rahill’s pre-existing solo compositions, some of which she’d written years earlier.

Superorganism return with their second album World Wide Pop in July, their first new music since 2018’s self-titled debut.

Blasting back with thirteen tracks that explore the infinite versus the intimate, taking in friendship, time, connectedness, and the universe; World Wide Pop contemplates the contradiction of being hopeful and curious when faced with relentless consumerism and overwhelming noise. However choosing optimism, Superorganism believe in the power of pop music and all the things it can do. World Wide Pop bridges the personal and existential whilst delivering a bag full of tunes laced with deadpan humour.

World Wide Pop also brings in an international set of collaborators including Stephen Malkmus, Chai, Pi Ja Ma, Dylan Cartlidge & legendary musician and actor Gen Hoshino.

Limited edition of 2000 individually numbered copies on blue coloured 180-gram audiophile vinyl. Eurovison Collected Eurovison Collected contains contains the #1 hit songs from earlier winners such as France Gall "Poupée de Cire, Poupée de Son" (France, 1965), Sandie Shaw "Puppet On A String" (United Kingdom, 1967), Sandra Kim "J'aime La Vie" (Belgium, 1986), Johnny Logan "Hold Me Now" (Ireland, 1987), Lordi "Hard Rock Hallelujah" (Finland, 2006), Loreen "Euphoria" (Sweden, 2012), Duncan Laurence "Arcade" (The Netherlands, 2019) and recent winners Måneskin "Zitti e Buoni" (Italy, 2021) and Kalush Orchestra "Stefania" (Ukraine, 2022).

In celebration of the40th anniversary of Under A Blood Red Sky(1983), the2023 Record Store Day Black Fridaysees the newly remastered release of the band's iconic live album onlimited edition red vinyl. Consisting of live recordings from three shows on the band'sWar Tour in 1983, the album helped to cement U2's reputation globally as one of the greatest live acts of all time. Featuring legendary live versions of 'Gloria', 'I Will Follow', and 'Sunday Bloody Sunday', the album remains faithful to the original track list, but is newly remastered at the renowned studioBernie Grundman Mastering.

Limited to 100 copies on red vinyl.

Limited to 100 white copies that are only available at HHV.

Limited to 150 copies in gatefold cover, with bonus instrumental LP.

The regular album is black, the instrumentals are magenta. Mieke Miami's "Montecarlo Magic", the follow-up album to her debut "In the Forest", (2016, Sonar Kollektiv) no longer darkens through the forest, but there is truly no light constraint either. Rather a special, positive mood that radiates inward and outward, describing a state that seems to be inner contemplation and journey at the same time: Florida, California and Brandenburg nestle very close to each other here. Perhaps a river still rattles through the picture and certainly somewhere magicians*innen play with things hide: intoxicated, dreamy and certainly easy to find. Because in this world no one should look around for anything. Find what you want, says Mieke.

Right away the opener "Californio" makes me think of a stay in Los Angeles, an imagined Los Angeles, more imagined than real. Absurd: I was still invited there in February 2020. Silver Lake, in the first light of a new day. Walking along a spring morning, I hear from the garden of a hippie commune this chorus with bright bell piano, space echoes and fine refrain wafting over. "Californio ...". How close it gets to me? Very. I'd like to go back to where this music is playing and realize that this is happening just as much there, in that distant LA at a certain time, as it is in the here and now in me. Beautifully displaced simultaneity. The single "Horse", pre-released at the end of 2020, tells quite a lot about it: bass clarinet and the constant Angerauschte, loose, casual, played. An atmosphere of voices, instruments, delays and, if at all necessary, more painted than planned, the image of a (in itself) polyphonic world.

Unison different: bridges and choirs slipped from front to back, singing sometimes lead sometimes back. Generously overlapping themes, verses, choruses to song worlds. Which you can listen to like this or like that, says the artist. All get into each other, without effort and with horny opacity: Montecarlo Magic.

A confession: yes, I immediately thought, "'Californio' = Los Angeles, garden, world, music, and that hidden yet tangible new humility, hippie USA." I thought all that. But then Mieke tells me about ghost ships, souls and wanderings, and danger? No, it fits. Every dream is true, Yes and No, A and Not-A one: "So many out-of-the-way things had happened lately, that Alice had begun to think that very few things indeed were really impossible." '***

Soon this cover version of the Beatles will follow! Who does something like that? "Cry Baby Cry" Maybe the Fab Four in their Los Angeles days? Wiki says India. White album, Lennon on the peak. Supposedly he doesn't like the track later, here it fits. And Mieke Miami becomes, so to speak, for a very brief moment, the most humble John Lennon in the world, and then dreams on, and the band, which is actually herself, dreams itself alongside her.

A record like a garden: "The king was in the garden picking flowers for a friend who came to play." '**. So nice to hear something from John Lennon again and easy translated. Thanks Mieke.

And where I just thought myself listening to Los Angeles and India, doing something mysterious and simple, the record now leads me - via bumper cars and Abbey Road - via London to San Francisco: Swimming Pool. A street-of-Francisco feeling, with guitars and choirs - and soulful grooves that are as oppressive as they are pleasantly dirty. Nix urban soul though, but country road soul, which triggers a crazy wanderlust right now (and far beyond now). And at the same time dissolves it, because whoever listens is amazed - and understands: Brandenburg, Florida, California: It's all here. This melancholic wanderlust likes to blow away completely in the pollen of the places and regions of our desire. More than ever.

The last song: "Golden Ships" is then actually my favorite title, because then I can already start again with this magic music.

Mieke Miami - Montecarlo Magic appears in the second Corona summer on Fun in the Church. Dit fits

After discovering a once-in-a-lifetime player with a rocky past abroad, a down on his luck basketball scout (Adam Sandler) takes it upon himself to bring the phenom to the States without his team's approval. Against the odds, they have one final shot to prove they have what it takes to make it in the NBA.

Dan Deacon is a Baltimore-based recording artist and performer renowned for his five studio albums of innovative electronic music, his live performances in both contemporary and classical settings, and his extensive body of work in film scores.

Deacon has premiered compositions at Carnegie Hall and Lincoln Center, and collaborated with artists and institutions including Kronos Quartet, Sō Percussion, The Baltimore Symphony Orchestra, the LA Philharmonic, and Justin Peck with the New York City Ballet. Deacon has also toured internationally with popular recording artists including Arcade Fire, Miley Cyrus, Future Islands, and The Flaming Lips. His albums Spiderman of the Rings and Bromst were both named Best New Music by Pitchfork, and his album Gliss Riffer received 4-star reviews from outlets such as AllMusic and The Guardian. His most recent studio album is 2020’s Mystic Familiar.

Deacon’s original film and television scores include Twixt (Francis Ford Coppola, 2011), Rat Film (Theo Anthony, 2016), Time Trial (Finlay Pretsell, 2017), Well Groomed (Rebecca Stern, 2019), Strawberry Mansion (Albert Birney and Kentucker Audley, 2021), the 2021 PBS documentary series Philly D.A., and All Light, Everywhere (Theo Anthony, 2021). Deacon also scored Jessica Kingdon’s Ascension, which won Best Documentary Feature at Tribeca 2021 and earned a nomination for Best Documentary Feature at the 2022 Academy Awards; Deacon’s work on the film took home the Best Score prize at the 2022 Cinema Eye Honors.

2022 sees the debut of Deacon's latest film score, the Adam Sandler Netflix feature Hustle, directed by Jeremiah Zagar, now available for pre-order on vinyl in collaboration with Diggers Factory.

With canceled shows, closed venues and lost incomes, the pandemic was bad news for many music artists. But it wasn't only bad news in 2020, as many artists used their struggle to do what they do best during difficult times: create great music. This is why N.E.W.S. Records, a record company based in Ghent releases 'Bad News. Good News.'. A limited edition vinyl record with great songs that couldn't be played live because of the pandemic. The record itself is made from the ashes of newspapers and magazines containing the bad news that hit the music industry in 2020 (and prevented artists from performing live). As proof that great music always survives bad news, no matter how desperate things can get. To create the records, N.E.W.S. Records worked with And Vinyly, a UK-based company specialized in pressing vinyl records with ashes. Many artists collaborated on the project and shared their insight on how the bad news happening in the music world influenced their music, like Johannes Genard, lead singer of School is Cool: "The one good thing about bad times is that they open new perspectives on things you've grown accustomed to, and that is exactly our core business as artists: comforting during challenging times; challenging during comfortable times and finding new ways to look at old things." The compilation contains some exclusives like the Brihang & Compact Disk Dummies 'Steentje / I Remember' mash up, recorded live for 'Week van de Belgische Muziek' and Sam De Nef's cover of the belpop classic 'Satelliet Suzy' recorded for StuBru.

Room 0205 is the first idol group produced by the editorial department of idol magazine "idolookin". Their music is reminiscent of acid jazz, and their lyrics, which reflect the conflicts and sorrows of girls living in the city, are synchronized to create a unique groove. Here is the answer to "city pop", a concept that is now in limbo!

The second album from Cantaro Ihara is finally here!

Deftly weaving everything from 70’s soul to AOR to city pop into his sound, Cantaro Ihara makes pitch-perfect groove-forward pop music. With high praise from DJs both in his native Japan and abroad, this second album is sure to be killer! With a knowledge of music unbound by genre, recent years have seen Cantaro Ihara’s star steadily rising. Whether he’s compiling music for DJ Bars, providing commentary for international artists, or releasing 7-inches that sell out on pre-order, it’s clear that the young musician is quickly becoming a force to be reckoned with in Japan’s indie music scene. In the two years since his first full album C, Ihara has leveled-up, and Portray makes the clear from beginning to end. From a Japanese-language cover of free soul legend Weldon Irvine’s “I Love You” (the original 7-inch led to intense bidding wars after heavy radio play in both Japan and abroad) and the Ihara original “Twiny”, the lead singles are already off to the races. Gripping the hearts of crate diggers worldwide, it seems predetermined that Ihara’s newest album would be funky, soulful, and mellow. Yet Portray manages to remain shockingly fresh, without any of the obvious tropes that have threatened modern soul. A feature from Japanese trumpeter Yusuke Sase on “Baby So In Love” catapults the song into neo-soul territory, bringing a new twist to a timeless sound. Meanwhile, a feature from Bialystocks keyboardist Go Kikuchi on “Yoru no Nagare” (The Flow of the Night) sees one of Ihara’s most instantly iconic melodies played with a gentle sophistication that could move you to tears in one moment, and have you two-stepping the next. With a history of selling out vinyl on pre-order and intense bidding wars, I’d say it’s clear that Cantaro Ihara is not just one of Japan’s most promising musicians, but one that continues to grip the hearts of record lovers everywhere. His second full length album Portray has everything there is to love about him. Mellow soul and funky grooves are aplenty - but I can’t say the same for stock! Make sure to get your copy of Portray on limited edition vinyl while stock lasts!

Limited to 100 copies.

The millennium was one long bad prank / we looked at each other and knew right away: that's it." The world out there is going to the dogs. Well, not just since yesterday. And it won't be over tomorrow either. Shitty times, then. Of course, you could meet them with cynicism. Or with despair. But maybe not. Maybe we could also draw hope, precisely because it would be so much easier to lapse into doom and gloom and bitter laughter now. And maybe it's okay to need something to keep our spirits up in the midst of the apocalypse.

And that's how WIR SIND SCHÖN came to be, Jens Friebe's ninth album, which, like the previous albums, is also released on Staatsakt, punctually four years after the last one (2018's FUCK PENETRATION). It is a cheerful-melancholic, ironic-serious, nonchalant piece of music, which just has no desire for staleness and contemplation. The hymn-like, beautiful title track "Wir sind schön" (We are beautiful), which embraces kitsch with self-deprecating seriousness and is above all comforting, gets to the point: the better world out there, we can build it ourselves. Despite everything. "It's an anti-nihilist album," Friebe says. No Future is already not wrong, but not so funny anymore, if the Future really rather scorching earth in prospect. But it's not that the problematic is erased. It appears on the record in the most diverse forms: In the almost socially realistic depiction of a youth friendship destroyed by the multi-tiered education system with the beautiful title - shimmering between urban sociological treatise and fairy tale - "The Shrinking City", in the devastating protocol of failed self-care ("Das Nichtmehrkönnen") or the enigmatically gloomy fantasy "What Have We Done". But the listener never gets bogged down in these low points of mood, but is always pulled out and up into the euphoric, utopian. Or, as in the rousing protest song "Sing it to the Converted", into the militant. But what sounds at first like the sheer repetition of banal slogans, turns out in the next moment to be a reflection on the necessity of repeating banal slogans. Because, as the last few years have shown, even the seemingly self-evident must be reminded again and again. Or, as Friebe puts it, "Doesn't the priestess preach to the converted / How long would they be converted if they never heard her?"

Similarly immediately poignant and intricate at the same time is "Free": what is freedom? Neoliberal exploitation, a privilege of the better-off, as preached by certain federal finance ministers? Or naked skin in the sunlight, partying, wind in the treetops, rage unleashed? Yes, this is somehow also satire, but not only: Friebe does not leave it at simply denouncing a grievance like a tired cabaret artist. Between the shifted drums, minimalist instrumentation and velvety grooves and background vocals (as on other tracks by Elektrik Diva MALONDA and Pola Lia Schulten), the actual, truthful longing for a freedom that is not characterized by anti-social economic order and commercial exploitation also comes through.

Should we laugh or cry? Maybe just both, as on "Ende aller Feiern," a sixties-poppy, subtly queer love triangle, with probably one of the best lines ever to make it into a German-language break-up song: "Wir haben uns alles erzählt/Nur zuletzt wollt' ich nicht alles wissen/I think you noticed that/And bit me goodbye."

Standing still has never been Jens Friebe's thing, but this time it's musically a bit further from the indie rock habitus that still made up FUCK PENETRATION or NACKTE ANGST ZIEH DICH AN WIR GEHEN AUS (2014). Yes, a penchant for anthems, crooner-like and storyteller is always part of Jens Friebe, but this time Afrodiasporic musical styles play a bigger role. More soul, more grooves, a certain smoothness that suits the hope that flashes again and again between ironic distance and realistic description of the present on WIR SIND SCHÖN.

Although the real drums have been almost entirely replaced by the drum computer, Staatsakt colleague Chris Imler again has a style-defining role on this album with synths and additional percussion. On "Die Schrumpfende Stadt" (where Herman Herrmann can also be heard on bass) he programmed the beat. Mense Reents (Goldene Zitronen, Sophia Kennedy) mixed "Der Wahn" and "Ende aller Feiern". As with all albums since DAS MIT DEM AUTO IST EGAL (2007), Berend Intelmann was again responsible for the production.

WIR SIND SCHÖN is an antidote to our times, an embrace of all the ambivalences we have to endure every day and an adrenaline injection into the heart of apathy. The world is complicated, but that's okay. Because, "When our eyes get used to the dark / Look at us and you'll see: We are beautiful!"

Lyrics: Aida Baghernejad