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An edition of 200 copies with insert signed by Nick Waterhouse himself, only available at HHV.

The title of the sixth album from Californian singer-songwriter Nick Waterhouse is more than just the name of one of its tracks. The Fooler is both a clue and a red herring. The Fooler is the observed and the observer, narrator and subject, truth and lie. The Fooler is the shadow and reflection of a city the artist knows sufficiently well to wander with his eyes closed, and a place which very possibly never even existed. The Fooler is not so much an unreliable narrator as a constantly shifting perspective.

The Fooler is the new album by Nick Waterhouse, and it’s a lot. Recorded by Mark Neill (Black Keys; Los Straightjackets; Dave Cobb) in Valdosta, Georgia, it’s a song-cycle of sorts, the arc of the album telling a tale of a city and its denizens.

The result is a record that offers up new riches and fresh perspectives with every spin. From the hidden corners of ‘Hide & Seek’ and the roadhouse soul of 'Play To Win' to the primitive, attitudinal, chugging two-chord thrill of ‘Late In The Garden’, it builds inexorably to the drama of the title track and pulsing roll-and-rock of the final pay-off, ‘Unreal, Immaterial’. Play it once, and it sounds immediately like a collection of great songs. Play it again – and you will – and it feels like a novel or film slowly unveiling its secrets, kaleidoscopic in its narrative complexity. “Especially during this record, I started just becoming what Allen Ginsberg called a pure breath,” says the artist. “I was becoming pure breath with my ideas.”

This classic Queen album is pressed on 180gram vinyl. To celebrate 40 years since Freddie Mercury, Brian May, John Deacon and Roger Taylor formed the band, Queen's Greatest Hits II has been digitally re-mastered for 2011 by Bob Ludwig. New cover art completes the package. Universal.

The arrival of Tamino is enough to make even an agnostic ponder predestination. The grandson of one of Egypt’s most famed singers, the great Muharram Fouad, Tamino came to the guitar as a teenager only after finding a rare resonator in his late grandfather’s attic. He plays it now alongside the oud, dual links to his cultural past that he uses to understand and articulate his emotional present. And when Tamino, whose jawline could make Euclid blush, sings of mystery and wonder, romance and surrender, worry and hope, you see that he’s been to those places, returning to share what he’s witnessed in a voice as strong as it is delicate, captivating as it is comforting. That is precisely how Sahar, his spellbinding second album, sounds—as though Tamino were born to sing these songs, and we were meant to witness.

Five years ago, Tamino became an unsuspecting star in his native Belgium, catapulted to major stages after winning a national radio contest. He had always expected to write intimate songs for small audiences, but here he was in front of ecstatic crowds that soon included Radiohead’s Colin Greenwood, such a fan he began touring and recording with Tamino. His debut LP—2018’s enormous and immersive Amir—galvanized his emerging star, its musical dynamism and sweeping vocal range netting comparisons to Jeff Buckley and, of course, his grandfather.

The international frenzy that followed the release of his debut, surprised Tamino—shy and sensitive, a self-described recluse. The album has sold over 29k copies and 180 million streams worldwide, finding fans in the Middle East, across Europe and even the US. He found himself cast as the face of Missoni, hand-picked to support Lana Del Rey and appearing on NPR’s legendary Tiny Desk Concert. During the pandemic, Tamino slid into the shadows to write this new record but his fame grew as his dormant Instagram profile gained hundreds of thousands of followers through pure word of mouth.

James Brown had the Apollo. Jimi Hendrix had Monterey Pop. And Prince had Syracuse, New York’s Carrier Dome—the Purple Rain Tour performance that was beamed to millions live via satellite and captured for posterity in the Grammy Award-nominated concert film Prince and The Revolution: Live, and has since gone down in history as one of the most iconic live recordings in pop and rock history. For the first time, this powerful performance by Prince and The Revolution has been entirely remixed from the original 2” multitrack master reels, the picture has been newly restored onto Blu-ray video with selectable stereo, 5.1 surround and Dolby Atmos sound and the audio will be made available for the first time physically. The new version of Prince and The Revolution: Live will be available on 2CDs plus the Blu-ray with a 24-page book with never-before-seen photos of the Purple Rain Tour and new liner notes.

Over the last two decades Brighton's Fujiya & Miyagi have been steadily building a vast body of work that explores 1970"s Germany-tinged beats, whip smart electronica, intoxicating disco, shimmering pop and generally concocting an idiosyncratic blend of dance music that sounds utterly and uniquely their own. The group have decided to revisit their 2008 record, Lightbulbs, as it had been out of print since its initial release. The follow up to 'Transparent Things', the record includes the singles 'Knickerbocker', 'Sore Thumb and 'uh'. The latter song has steadily increased in popularity due to its use in the first season of 'Breaking Bad'. The group expanded and remoulded their aesthetic on this release, introducing live drums on some tracks as well as adding an influence of French 70s pop and 90s RnB to the equation. 'Lightbulbs' still remains unquestionably Fujiya & Miyagi sounding, tweaking their past aesthetic whilst creating a bridge to where they would travel next. With a plush new re-master, the album sounds crisper and punchier than it did before. It's a fascinating snapshot of a group in transition as they start to shed their formative influences and travel onwards.

At the top of 2020, after a year of traversing the globe in support of 2019’s Run Fast Sleep Naked, Nick Murphy began creating music that simply felt good. Though the singer had retired his billionstreaming Chet Faker project four years prior, the new songs he was working on in his New York City studio had an energy reminiscent of his earlier work. Reviving the project “wasn’t on my radar” at the time, Murphy admits, but the next thing he knew, he had a full album. The result is Hotel Surrender, a radiant 10-track LP full of swaggering bass lines and electrifying melodies that reintroduces Chet Faker to the world – and to Murphy himself. Like his debut LP, 2014’s Built on Glass, Murphy wrote and produced Hotel Surrender solely on his own, finishing most of the songs before COVID-19 hit in March 2020. He admits that before Hotel Surrender, he had never approached his process with such ease. This time, as the album title suggests, he surrendered to the music. “There was this, like, unconsciousness—not thinking, but just feeling, letting it come out and letting it steer itself,” Murphy says. “The great lesson for me was that I could write from a place of joy. I was also just being kind to myself. None of this music was hurting, it just felt good. It made me feel better, and it helped me be better.”