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JonHeck

@jonheck

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Fun stuff happening at @toughlovestleonards today and tomorrow. Get involved! @xmtr.fm @tullisrennie by @jonheck

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23 days ago

Two years of being the best night out in town. Happy Birthday. @hagstonestunners 🥳 by @jonheck

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a month ago

I went and did some chilled out charcoal drawing as part of @coastalcurrentsfestival Votive workshop @toughlovestleonards as part of @coastalcurrentsfestival . It was very calming and fun! by @jonheck

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a month ago

by @jonheck

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a month ago

@cabiria.band @iantheband @asunamissa playing a blinder @toughlovestleonards by @jonheck

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2 months ago

Ooof! by @jonheck

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2 months ago

by @jonheck

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2 months ago

Bexhill Art Weekender. taken in The De La Warr Pavilion by @jonheck

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2 months ago

Got to hear an Impromptu free jazz set on the way home from the shops. taken in St Leonards on Sea by @jonheck

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2 months ago

I went to Bloodstock at the weekend, it was hot and dusty and metal. I am now paying the price for forgetting I am not in my 20s anymore. by @jonheck

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2 months ago

@hey_colossus back catalogue part 4.

The final part. I’ve enjoyed going back through HC’s discography. There are a few records here that I had not listened to in a while and I enjoyed hearing the progression over the past 21 years! And there is still more to come!

Dances/Curses (2020)

A rare thing to have a double album that doesn’t overstay its welcome or disappear into experimental navel gazing. Not only does Dances/Curses avoid these common shortcomings but also manages to slap the 16 minute tour de force that is A Trembling Rose right in the middle of the album and follow it up with The Mirror featuring the smooth tones of Mark Lenegan. An absolute beast of an album.

In Blood (2023)

How to follow up an album like Dances/Curses? Why not write a tight album of space and kraut inspired songs that also have a bit of a nod towards the robot rock of QOTSA. I Could Almost Care and TV Alone are stand outs for me but there really isn’t any fat on this album. Lovely stuff!

You Laugh In My Face (2023)

A cover of a Patrick Crowley song. An artist I am still not familiar with beyond this release. Originally available as an exclusive to Quietus subscribers and then given the fancy lathe cut treatment by State 51 as part of their Singularity series. A near 22 minute song with a hypnotic riff and vocal refrain that slowly draw you in. Classic HC behaviour then.

Heaven Was Wild (2026)

Their latest album and the last with vocalist Paul Sykes. Thomas House of Sweet Williams fame is waiting in the wings. A solid set of tunes and great to hear Claire from Objections on Clock. Death and Deliverance is a nailed on robot riff banger. But like their past two releases there is no fat on this record and it’s probably the closest HC have come to writing a party album.

Well here is the full set. Thanks for joining in! by @jonheck

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2 months ago

@hey_colossus back catalogue part 3.

Back at it starting with…

Black and Gold (2015)

The first of three releases in 2015! Black and Gold opens with the chilled synth led chamber music ambience of Hold On, the album kicks on with Sisters and Brothers and we are back on more familiar ground of driving rhythms and looped riffs. This album feels less jammy than previous releases (the exception being Lagos Atom) and the vocals are more prominent and less abrasive. That said when it goes it properly goes as is nicely demonstrated at the end of the title track.

Radio Static High (2015)

Album 2 of 2015 is even more of a signifier of where HC were headed moving further away from their sludgier earlier recordings. The relaxed title track opens the album before March of the Headaches kicks in with a big old heavy riff this is followed up by Hop The Railing a slinky little riff is backed up with driving bass and drums. This album is HC stretching their song writing muscles and is probably their most balanced album up to this point.

Heaven Blows/Droned and Disowned Part 2 (2015)

The final release of 2015 is a split with Australian 2 piece Hotel Wrecking Crew. HC weigh in with a ten minute track called Heaven Blows. Synths and guitars swirl around before some echoey spoken vocals are added to the mix along with some fun bleeps and bloops it’s all very chill. HWC come in with 22 minutes of feedback heavy riffing which I do not mind at all.

The Guillotine (2017)

The most notable difference on this album is how much more confident and prominent the vocals are. Less buried in reverb and more melodic there are far fewer long instrumental sections and it feels generally more succinct than previous albums. Back In the Room stomps along nicely and In A Collision builds to a satisfying grinding ending. While parts of the last two albums sounded a bit like a band figuring out where they were going on The Guillotine they have arrived at their destination.

Four Bibles (2019)

Carries on where The Guillotine left off. More structure to the songs. More balance between the slow burners and the barn burners. There is a great flow to this album and at times it feels effortless by @jonheck

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3 months ago