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Hat Hill Records

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Hat Hill Records

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Independent record & hi-fi store

28/10/2026

Dreaming of your next island holiday? This is the album for YOU!

Released in 1978 by CBS / Sony Japan, Pacific was the inaugural entry to their Sound Image (or ‘Tourist Music’) series, designed to conjure feelings of specific travel destinations. The album features compositions by Haruomi Hosono, Shigeru Suzuki and Tatsuro Yamash*ta - titans of the fertile jazz fusion, and emerging city pop scenes.

The album features sun-drenched, tropical fusion instrumentals adjacent to the lounge / exotica stylings of Martin Denny & Arthur Lyman, but with slick guitars, and then-modern electronic elements. These sonic atmospheres also served as a precursor to countless video game soundtracks from the 90s onwards.

Pacific has grown significantly in stature in recent years. With the internet-born explosion of interest in city pop, and the invention of micro genres like vaporwave, what was niche and questionably daggy, has found new ears to lull into fantasies of tropical island escapism.

Best enjoyed with a pina colada🍹🏝️— Jon

26/10/2026

Oi oi, Punx Picnic books are back in!

Luke Bartolo, the brains and heart behind the Noise Levels Project, has now produced a book/zine, celebrating the Punx Picnic, one of Australia’s longest running punk traditions.

For those of you dipping into the Noise Levels project for the first time via this book, you will quickly learn about this unique archival project that seeks to document the histories of Australian bands through interviews, collation of historical material, and preservation of music, flyers, and other material associated with the alternative music counter culture of the ’80s, ’90s, and ’00s.

This oral history of the Sydney Punx Picnic functions as Issue #11 of the ongoing zine series, notably being a glossy, full colour A5 book! Very impressive in its comprehensive coverage of the Punx Picnic, this publication has benefited from the generosity of the many people from the DIY / punk and local music community who provided ephemera, pictures and memories to this project. This is well captured in the very full list of thank you and credits at the back of the book.

30 bux!

22/10/2026

Probably one of the most renowned (and best) Dub/Reggae albums ever.. Spiritual and heavy - dance evoking and contemplative/thought provoking.
Essentially covering all basis for a dub record..

It has an all star cast by reggae standards, with Sly and Robbie on some tracks, members of Aswad on others, Rico Rodriguez (legendary jazz/reggae trombonist), there is even a couple of songs with Bob Marley's bass player and musical director - Aston Barrett.. along with all the Burning Spear regulars.

Perhaps because it was such an epic collab there is no one thing that makes this album great.. A culmination of everything that makes good reggae, heavy, pumping bass, spaciousness, powerful horn lines, backing vocals and layered percussion. Except instead of having 1 or 2 of these features it has them all in spades.. and on top of that it has the unique, haunting and subtle vocals of the man himself, Winston (Burning Spear) Rodney. Wow! Defs one of my favourite records atm. - Pat

20/10/2026

There’s a particular kind of record that arrives only after a long waiting. Grown slowly, the way lichen takes a decade to cover a stone. shroudings, the debut self-titled solo album from Blue Mountains multi-instrumentalist Robin Dixon, is one of these. Recording began in 2014; something is ready for us in 2026.

The years were marked by much change: a relationship begun and ended, two children born, a stroke. Dixon, an academic and historian by inclination as much as by trade, treats his own upheavals the way he treats an old ballad: as material to be turned over, reset, sung through rather than sung about. The stroke, in 2023, took away his ability to play some of the parts he’d intended to record himself. What it gave back, in time, was a spirit of collaboration, rediscovery and reinvention.

Eight songs, twelve years, nineteen musicians. Natural constraint governs; no electric or electronic instruments feature. What you do hear is wood, gut, brass and breath. Arrangements are unobtrusive and delicate: harp, cello, pump organ, parlour guitar, muted trumpet, vibraphone, dulcimer, and a jazz kit brushed rather than struck. Every song carries at least one woman’s voice or hand in its making: Mirabai Peart’s violin, Jess Randall’s fiddle, Phillippa Murphy-Haste and Flora Carbo, and the distinctive voices of Alex Tolmie, Hannah Pelka- Caven, Natasha Koch and Sonia Zadro, among the album’s many other collaborators. All combining so that Dixon’s tenor, warm and understated, is forever being answered rather than left to carry things alone.

Water recurs. And so does motion: narrators walking, rowing, riding trains toward something they can’t quite name. For touchstones, you might hear the spare drift of Talk Talk’s Laughing Stock, an echo of Nick Drake’s autumnal sigh, Leonard Cohen’s angelic-women vocal arrangements, Dead Can Dance’s Celtic gravity, and something of Joanna Newsom’s glisten.

But mostly shroudings asks to be heard as its own quiet argument: that making something, with others, in the wreck and after the wreck, might be reason enough to keep going. It’s a beautiful, patient record. Give it your evening.

19/10/2026

Another exceptional release from Brierfield Flood Press in today.

Hana Stetton’s sophomore album Tiarn is a gorgeous offering of ambient folk song-scapes.

Self-record in isolation, at Lake Tabourie on the South Coast, the album shares the sounds of the place where it was recorded. Guitar, pump organ and other acoustic instruments blend seamlessly with the sound of waves, insects and birds. Gentle, close-mic’d vocals are at times spoken, and other times layered in undulating choral washes of lush, tape-soaked warmth.

There’s a sort of laid back immediacy that can be heard throughout.. the layering of sounds feel as though they’ve been pieced together intuitively, with the composition and recording process being somewhat synonymous.

The album is meandering, but never strays into territory that’s anywhere less than captivating. I was waiting for the physical copies to arrive before giving this a listen and I’m so glad I did.. unreal.

Likely to appeal to fans of Maxine Funke, Mess Esque, The Microphones, Grouper, any releases on Brierfield FP. - Jon

12/10/2026

5k fridays coming up friday 23/10

Friend of the store and all things musical MISH MASH is ready to take you on a 2hr journey through dub, spiritual, funk edits and jazz.

No doubt there will be some deep cuts and underground gems.

He also has heaps of records to give away along with some tasty cans of status quo

Very excited for this one - save the date

09/10/2026

We just got a delivery fresh from the void..

The Blue Mountains Void Observance League that is.

Mini-CDs, regular sized CDs, motivational pamphlets + stickers.. for those interested in dark ambient, drone, noise, experimental electronics, nihilism.. what a treat!

Just in time for CD Store Day tomorrow.. open from 9am 💿

Releases by Naomi Oliver, The Grey Men, Atavus Infectum, Daemon Silk, Folly of Stultus, Most Ominous Mystic, Mx Robert Frost & 4th Sister, Peter Newman, Solo Devourer, vagueposting, Vi Aisling, Blue Mountains Void Observance Officially Sanctioned Drone Ensemble ft. Systemet, Dronedead & Atavus Infectum

Blue Mountains Void Observance League Inc. Woven Eye Propaganda CD Store Day

07/10/2026

Very spesh house show in the upper mtns next Sat!

$20, limited spots. DM Jon Flood if you’d like to attend.

07/10/2026

In the early 2000s, Shinichi Atobe was one of the most enigmatic figures in electronic music to find international acclaim. Following the release of his revered debut 12”, Ship Scope (2001), on Basic Channel’s Chain Reaction label, he lived in total obscurity until the release of his full length follow up, Butterfly Effect, 13 years later.

BE did not disappoint.. it was a bold expansion on the rich textural dub house / techno sound he was revered for. Steady propulsive beats, deep washy ambience, and piano melodies circled by staticy insect-like sounds.. this lavish palette forms the basis of the first half of the album.. then it implodes.

Free Access Zone 7 begins the descent into ‘no f***s given’ territory. It breaks away from the steady, beat driven tracks of the first half of the album, and initiates the plunge into obscurity. All elements fragment asymmetrically, and recede into an echoey chamber.. Such as with his lack of interest in the pursuit of music as a ‘career’, this too is reflected in his convention defying approach to his releases.

Waste Land 1 follows with a shimmering, discordant sci-fi /horror melody, which sustains for a 6 minute anxiety-inducing nightmare.

Waste Land 2 continues with a slow, pulsating thud of a beat, augmented with alien textures that spring out in abrupt bursts, then decay back into the ether.

Then the reprieve.. the title track concludes the album with a return to comfortable terrain.. a 12 minute padded synth loop, accompanied by dubby bells ringing out in broken intervals. A gently hypnotic and deceptively simple track - one of the highlights in an album full of them. Excellent from start to finish.. 5x stars - Jon

(Short snippets don’t do it justice, but there’s a sample in the 2nd slide)

Address

Collier Arcade, 23-25 Govett’s Leap
Blackheath, NSW
2785

Opening Hours

Monday	9am - 5pm
Tuesday	9am - 5pm
Wednesday	9am - 5pm
Thursday	9am - 5pm
Friday	9am - 5pm
Saturday	9am - 4pm
Sunday	9am - 3:30pm

Telephone

+61247875246

Website

http://hathillrecords.com.au/

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