Rough Trade HHV Records 163 Items

Record Store Day 2021 Release.
Limitation: 1500 copies.

Coloured double gatefold Vinyl with gold foil text on the sleeve. On the completion of the recording of The Fool, Andrew Weatherall was given access to the album's master tapes to work on mixes for the finished record. The track Baby, along with Warpaint's iconic single Undertow, were both mixed by the Guv'nor and appeared on the finished album that was released in 2010. For the first time ever, this Record Store Day edition brings together all the mixes Weatherall created while working on the project, including a never released before, finished version of Jubilee. "I remember that one of the main reasons why we wanted Andrew Weatherall to mix the Warpaint album was because we loved his brilliant work on the Primal Scream remix of "Higher Than The Sun". I know that we discussed this particular track with Emily and she knew it of course and also loved it. I think it was a key reason they agreed to let Andrew do the mix." - Geoff Travis - Rough Trade

Record Store Day 2021 Release. Limitation of 2500 copies on golden vinyl!. Original inner sleeves.

Using the word ‘mature’ to describe a band’s new album is often a euphemism for a record devoid of the ideas or spirit that made them interesting in the first place. Bassist Jenny Lee Lindberg has labelled Warpaint’s third album exactly that, but there’s no need to panic: these LA ladies have broken with tradition and made a ‘mature’ album that doesn’t mean they’ve bypassed fun.

Where the Californian quartet’s previous records (2010’s ‘The Fool’, 2014’s ‘Warpaint’) have focused heavily on building an intense mood, ‘Heads Up’ instantly feels more spontaneous and relaxed. Its glittering peak, ‘New Song’, was born out of the band larking around and singing about playing a, well, new song. It’s easily their best tune to date; a huge slab of euphoric pop that begs you to hit the repeat button. The title track shares a similar nagging energy, but manifests it in a Cure-style bassline and Emily Kokal and Theresa Wayman’s gleaming post-punk guitars.
In interviews, the group have said they wanted to make the album more representative of the excitement of their live shows. To do so, they’ve brought their dancier influences to the fore, stripping away a lot of the hazy, brooding atmospherics they used to cloak their songs in and ending up with a sound that’s 10 times more immediate. ‘So Good’ bounces along on Lindberg’s elastic bassline and the minimal ‘By Your Side’ is an ode to female friendship that has them singing “Got my girls, I’m not alone” to drummer Stella Mozgawa’s twitchy, hip-hop-inspired beat.

Like their self-titled album’s ‘Biggy’, ‘Heads Up’ also makes reference to an iconic hip-hop star. ‘Dre’ doesn’t sound overtly like its namesake – it’s too languid and lacking even the slightest vigour – but it apes the genre he works in with a foundation of processed beats and synths, and guitars that are chopped up to sound like they’ve been sampled. It’s symptomatic of the album as a whole – more adventurous and free-spirited than the ‘Warpaint’ of before, but retaining the laid-back DNA at their core. For once, Warpaint sound like they’re having fun – and it suits them. - NME 4/5

Still sealed. Stuffed corners.

For their first new material in two years, Warpaint reunited with Rough Trade, the label behind their debut album and creative home for most of their existence. "It makes us smile to release them in collaboration with friends and family at Rough Trade," the band say, continuing "It feels like a perfect return to where it all began! With these new songs we tie a bow around this time in our lives, and all the experiences and songs we"ve shared over the years. It"s been an incredible journey and taken us all over the world sharing good times with beautiful people. Our hearts are full!" Warpaint"s Theresa Wayman says of "Common Blue", "It started with the chord progression on guitar. Jen and I jammed it in her living room in Echo Park and it became a song. We sent it around the houses (Stella and Emily"s houses) and all its elements were brought to life. It"s intended to inspire freedom! Common blue. Rising up again and again, climb a ladder to the sky, catch the view like a butterfly! Everything is possible... it ain"t over till it"s over!"

close to NM. embossed cover

CD comes in a soft case, instead of the original crystal case. All booklets included.

Vinyl with scuffs and hairlines

To celebrate the release of their astonishing debut album, Up The Bracket, The Libertines are releasing a 20th Anniversary Edition on multiple formats, through Rough Trade, on October 21st 2022.

In addition to a remaster of the original Up The Bracket album, produced by Mick Jones (The Clash), the Super Deluxe Edition also includes a remarkable 65 previously unreleased recordings including many original demos, radio sessions and live recordings all helping to chart the making of Up The Bracket, plus a live recording from the 100 club in 2002. It also contains a 60 page book with a forward by Matt Wilkinson, new interviews with the band by Anthony Thornton and many unseen photos and memorabilia. Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and ‘live now pay never’ lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band’s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock'n'roll classic debut as relevant now as it was upon its release.

To celebrate the release of their astonishing debut album, Up The Bracket, The Libertines are releasing a 20th Anniversary Edition on multiple formats, through Rough Trade, on October 21st 2022.

In addition to a remaster of the original Up The Bracket album, produced by Mick Jones (The Clash), the Super Deluxe Edition also includes a remarkable 65 previously unreleased recordings including many original demos, radio sessions and live recordings all helping to chart the making of Up The Bracket, plus a live recording from the 100 club in 2002. It also contains a 60 page book with a forward by Matt Wilkinson, new interviews with the band by Anthony Thornton and many unseen photos and memorabilia. Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and ‘live now pay never’ lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band’s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock'n'roll classic debut as relevant now as it was upon its release.

To celebrate the release of their astonishing debut album, Up The Bracket, The Libertines are releasing a 20th Anniversary Edition on multiple formats, through Rough Trade, on October 21st 2022.

In addition to a remaster of the original Up The Bracket album, produced by Mick Jones (The Clash), the Super Deluxe Edition also includes a remarkable 65 previously unreleased recordings including many original demos, radio sessions and live recordings all helping to chart the making of Up The Bracket, plus a live recording from the 100 club in 2002. It also contains a 60 page book with a forward by Matt Wilkinson, new interviews with the band by Anthony Thornton and many unseen photos and memorabilia. Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and ‘live now pay never’ lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band’s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock'n'roll classic debut as relevant now as it was upon its release.

Cover has one corner bend.

A deluxe edition as a 2 x LP on yellow vinyl, features bonus demos, b-sides and live session recordings. The Hidden Cameras burst onto the Toronto music scene in the early 2000"s boasting an irresistible combination of pop and queer sensibilities. Playing self-proclaimed "Gay Church Folk Music" a new genre of their own making and songs ranging from haunted, aching ballads to foot-stomping anthems, the band"s outrageous stage shows packed such disparate venues as sweaty dance bars, art museums, a working porn cinema as well as many churches. Fronted by lead singer-songwriter Joel Gibb, the ensemble continues its musical provocations to this day, with Berlin now as its centre of gravity. The Hidden Cameras had yet to release a note of commercially available music when, in early 2002, they became among the most discussed and celebrated unsigned bands in the history of their native Toronto. By the close of the year, they had been the subject of uncommonly sensational features in The Globe and Mail (Canada"s national newspaper) as well as in every daily and weekly in Toronto. The reasons for the reckless enthusiasm of these usually cautious journals was simple: revelatory live performances that attacked and transcended the staid, dispassionate traditions of rock nightclub culture; and the songs of band front-man and mastermind Joel Gibb, a talent of uncommon melodic and poetic gifts. "The Smell of Our Own", The Hidden Cameras debut album was originally released in April 2003 on Rough Trade to tremendous critical acclaim.

The Hidden Cameras burst onto the Toronto music scene in the early 2000"s boasting an irresistible combination of pop and queer sensibilities. Playing self-proclaimed "Gay Church Folk Music" a new genre of their own making and songs ranging from haunted, aching ballads to foot-stomping anthems, the band"s outrageous stage shows packed such disparate venues as sweaty dance bars, art museums, a working porn cinema as well as many churches. Fronted by lead singer-songwriter Joel Gibb, the ensemble continues its musical provocations to this day, with Berlin now as its centre of gravity.The Hidden Cameras had yet to release a note of commercially available music when, in early 2002, they became among the most discussed and celebrated unsigned bands in the history of their native Toronto. By the close of the year, they had been the subject of uncommonly sensational features in The Globe and Mail (Canada"s national newspaper) as well as in every daily and weekly in Toronto. The reasons for the reckless enthusiasm of these usually cautious journals was simple: revelatory live performances that attacked and transcended the staid, dispassionate traditions of rock nightclub culture; and the songs of band front-man and mastermind Joel Gibb, a talent of uncommon melodic and poetic gifts. "The Smell of Our Own", The Hidden Cameras debut album was originally released in April 2003 on Rough Trade to tremendous critical acclaim.

This is a live album containing nine Emiliana Torrini songs from her catalog along with two brand new songs. “Nightfall,” written by Kid Koala and Torrini and “When We Dance” written by Jespers, Proesmans, and Torrini. The latter reflects the musical chemistry the three musicians developed during the process of rehearsal and performance for the Colorist concerts.

The group created a new world out of the music, and while Torrini admitted that she could barely recognise many of her own songs in the rearrangements, the collaboration – from emails and Skype calls to rehearsals, sound-checks, and finally, the live concerts – came together organically and beautifully, with Torrini’s talent elevating the Colorist ensemble’s creativity, and the group helping her rediscover the joy and the power within her own songs in this new light.

Universal Themes is the follow-up to Sun Kil Moon's 2014 album Benji, which unexpectedly became one of the most critically acclaimed albums of that year. Like that album, Universal Themes is extremely autobiographical, with songwriter Mark Kozelek spinning yarns about friends, family, his childhood, and other life experiences, with frequent references to boxing, music, films, television, and food. Lyrically, Universal Themes isn't as heavily fixated on death as Benji; instead, there are more songs like "Ben's My Friend," wherein Kozelek sings about his experiences traveling and playing shows. Opener "The Possum" does both, intertwining a story about an old dying possum with an anecdote about hanging out with Justin Broadrick before witnessing an incredible concert by his band Godflesh. "Little Rascals" and "Garden of Lavender" reference previous Kozelek songs by name, as well as fans' reactions to his lyrics, such as a heckler who asks if he really hates Nels Cline (he doesn't; his name just happened to rhyme). The album doesn't contain any references to Kozelek's notorious one-sided media feud with the War on Drugs, but it does include "Cry Me a River Williamsburg Sleeve Tattoo Blues" (complete with text message notification sounds), which starts out from the point of view of a jaded fan who complains that Kozelek won't play his old material, before going into several grim short stories about early deaths and tortures, in order to drive home the first-world-problems message. There's also plenty of lighter, more joyous recollections, such as Kozelek's memory of receiving his first guitar, and a multitude of stories about the best times of his life spent with family and friends. Most of the album's eight songs hover around nine or ten minutes in length, and there are stretches of spoken monologue rather than singing. Musically, Kozelek plays almost all of the instruments himself, other than drums from Steve Shelley and guest appearances by bassist Alex Schwartz and keyboards by Chris Connolly on one track each. A few of the songs rock out more aggressively than any of Kozelek's previous work, and he practically barks out "With a Sort of Grace I Walked to the Bathroom to Cry." As with all Sun Kil Moon albums, Kozelek produced the album himself, and his arrangements remain inventive and gorgeous; the lengthy songs are layered, multi-part suites that frequently switch tempos, drifting off into ethereal passages or graceful tarantellas before snapping back to the driving rhythm framing the story at hand. Like Benji, Universal Themes is a challenging listen, and some might view it as Kozelek's most indulgent album yet. But his brilliant musicianship and guitar playing combined with his fascinating storytelling skills ensure that his music is as poignant and life-affirming as ever, and the album is yet another success in his remarkable catalog. - Paul Simpson at allmusic.com

The debut album from Sun Kil Moon, originally released in 2003 and long since out of print is being reissued on double vinyl.

An album as good as Ghosts of the Great Highway should never go out of print. Ghosts continues-- even fine-tunes-- the work Kozelek did with his former band, Red House Painters. These songs are virtuously stoic Americana-- all shimmery guitars, measured tempos, malevolent moods, and wandering melodies. His voice sounds like Neil Young’s, especially in the effortlessness with which he hits the high notes then returns to a lower, earthier texture. Ghosts is a travelogue of sorts, speeding through the Midwest and the West; in this sense, it’s the male equivalent to Lucinda Williams’ Car Wheels on a Gravel Road, especially in the imperfect mirroring of physical terrain and emotional geography. The band Kozelek assembled for Ghosts-- Anthony Koutsos (Red House Painters), Tim Mooney (American Music Club), and Geoff Stanfield (Black Lab), along with a few guests-- ably but subtly bolster his lyrics and vocals, generating a steady clip that never flags. The result is an album as hypnotic as highway divider lines whizzing past. Includes original bonus track “Gentle Moon (Acoustic).”

Starcrawler sind auf den Straßen von Los Angeles groß geworden und saugen seit ihrer Jugend die besondere Energie ihrer Heimatstadt auf. Seit der Bandgründung in 2015 hat sich die Band, bestehend aus Frontfrau Arrow de Wilde, Gitarrist und Sänger Henri Cash, sowie Bassist Tim Franco und Drummer Austin Smith aus der Garage, wo sie gemeinsam Punk-Klassiker spielten, in die Herzen von Ikonen wie Shirley Manson oder Elton John gespielt. Und nebenbei Künstler und Bands wie Beck, die Foo Fighters, Spoon, The Distillers oder MC5 mit ihrer einzigartigen, sowie Energie-geladenen Auftritten supportet. Diese sind manchmal blutrünstig, extrem prächtig und dabei so elegant wie eine Ballett-Aufführung. Auf ihrem am 11. Oktober erscheinenden Zweitwerk "Devour You" fängt die Band nun eben jene Energie ein. Der Nachfolger des selbstbetitelten 2018er Debütalbums wurde von Nick Launay (Nick Cave & the Bad Seeds, Yeah Yeah Yeahs, L7) produziert und zeigt nun die Weiterentwicklung der Vier als Band und Songwriter.à"Devour You" ist eine Coming Of Age Platte, die von ihrer Teenage Angst getriebenen Energie lebt.

New Orleans no-wave punks Special Interest announce ‘Endure’, their third album and Rough Trade Records debut, for release on Friday, November 4th, 2022.

A special edition LP bundle (Black or Yellow LP) comes with two limited edition 7”s (while supplies last), the new “Midnight Legend” 7”(limited to 1000 copies globally) featuring both the Mykki Blanco-version of the track & the album version and also a copy of the long sold out “(Herman’s) House” 7” originally launched earlier this year.

Endure was self-produced and recorded at HighTower in New Orleans with engineering by James Whitten, mixed by Collin Dupuis (Angel Olsen, Yves Tumor, Lana Del Rey).

Special Interest's songs recall the art rock of Sparks and The B-52s as much as politically-minded punk, and on “Midnight Legend,” the group is more overtly pop than ever before — making something fun during a time of frequent sadness became a central priority. But that doesn’t mean anything is simple or surface-level, with a darkness often treading beneath the smooth production. For as much as the band plays with dissonance, Maria Elena’s expressive guitar work and Nathan Cassiani’s grooving bass lines effortlessly weave together, and shade out the soundscape brought into existence by Alli Logout’s commanding vocal presence.

New Orleans no-wave punks Special Interest announce ‘Endure’, their third album and Rough Trade Records debut, for release on Friday, November 4th, 2022.

A special edition LP bundle (Black or Yellow LP) comes with two limited edition 7”s (while supplies last), the new “Midnight Legend” 7”(limited to 1000 copies globally) featuring both the Mykki Blanco-version of the track & the album version and also a copy of the long sold out “(Herman’s) House” 7” originally launched earlier this year.

Endure was self-produced and recorded at HighTower in New Orleans with engineering by James Whitten, mixed by Collin Dupuis (Angel Olsen, Yves Tumor, Lana Del Rey).

Special Interest's songs recall the art rock of Sparks and The B-52s as much as politically-minded punk, and on “Midnight Legend,” the group is more overtly pop than ever before — making something fun during a time of frequent sadness became a central priority. But that doesn’t mean anything is simple or surface-level, with a darkness often treading beneath the smooth production. For as much as the band plays with dissonance, Maria Elena’s expressive guitar work and Nathan Cassiani’s grooving bass lines effortlessly weave together, and shade out the soundscape brought into existence by Alli Logout’s commanding vocal presence.