Name: What's Going On?
Brand: Normil Hawaiians

Bonus disc

Bonus disc: No

Catalogue number

UTR121CD

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Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Remastered and 7 Bonus Tracks housed in a Gatefold Wallet with Booklet. 

Format Music GB

Limited edition

Release date

2019-06-28

Signed copies

Signed copies: No

Supplier GB

Tax rate GB

Standard:20

UPC / Barcode

828887112124

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Total Cap

1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Normil Hawaiians

Genre GB

New Wave / Post Punk

Label GB

Upset The Rhythm

Originally formed in 1979 in Orpington, Greater London, England, UK, *Normil Hawaiians* is a band known for their ever-changing collective and unique sound. Led by guitarist/vocalist Guy Smith, the band has had two distinct periods with different members and contributors.

During their first period from 1979-1981, *Normil Hawaiians* featured a diverse lineup including Jim/James Lusted on guitar and vocals, Janet Armstrong on vocals, Kev/Kevin Armstrong on guitar, Colin Donaldson on bass, Chris Westerman on drums, Nick Rose on bass, Sue Leeves and Sarah Harley as backing vocalists. The Famous Delfonso played saxophone while Roger Smith contributed violin. Brian Kealy handled the drums while Stephen Berlin (Bertie) provided vocals.

In their second period from 1981-1986, the band underwent further changes with Simon Marchant joining as guitarist along with Cliff McLenehan on bass and Noel Blanden taking over the drums. Mark Tyler added his expertise with the string synth while Dave Anderson and Alun 'Wilf' Williams both played bass.

Upset The Rhythm is a live music promoter and record label based in London, UK. They are known for their dedication to showcasing innovative and boundary-pushing artists from various genres. With a focus on supporting independent musicians, Upset The Rhythm has built a reputation for curating exciting and diverse lineups at their live events. As a record label, they have released albums by some of the most influential and forward-thinking artists in the industry. Their commitment to promoting unique voices in music has made them an authoritative presence in the e-commerce world.

Normal Hawaiians were based between Thornton Heath and the Brixton squat scene encircling the anarchist bookshop at 121 Railton Road. The brutal 1981 Brixton Riots and the heavy-handed policing that followed had fostered a billowing sense of conflict with state forces. 

Following the release of More Wealth Than Money (Illuminated, 1982), there was an impetus to make good on hard won achievements. Rehearsal and writing sessions resumed in the early months of 1983 at Intergalactic Arts Studios, off the Old Kent Rd in London. IGA was a ramshackle, semi-residential rehearsal space where the Hawaiians – none of them ‘natural’ musicians - would often play and rehearse in the dark, recording demos onto cassette.

Whereas More Wealth Than Money had evolved in the recording studio, What’s Going On began to develop as a more pre-meditated, albeit piecemeal work. Quiet Village and the unreleased Outpost had already been finished at Foel in February 1983. Recording Engineer Brian Snelling recalls how the Hawaiians approach to making the album was unconventional and spontaneous, revelling in chance and openness. Rehearsal tapes from IGA were played along to, and and improvisations allowed to develop, with further layers of sound accreting (as can be heard on the final cut of Big Lies). Free Tibet was created by the band playing together exploratively (guitars and their sounds were ‘treated’ with a penny whistle and a rusty screwdriver) with Snelling waiting to hit ‘Record’ until he heard that something interesting was coalescing.

Mixed tapes were then taken by Dave Andersen and Guy Smith to Charly Records’ editing studio in London where Andersen had worked and was able to pull downtime. Here they spliced the recordings into an irregular yet coherent, flowing work, Side One being intentionally and meticulously honed as a seamless and inventive narrative. Recalling the rudimentary nature of both the equipment and the demo tapes brought in, Snelling now views the end result as ‘brilliant’ though his initial feeling on hearing the edited and mastered LP was that the record had been ‘cut to pieces’. Final masters were then EQ’d and cut by Graeme Durham at the newly opened Exchange Mastering Studios in Camden.

And then nothing happened. Unbeknownst to the band, Illuminated Records were getting into deep financial problems and by early 1984 were struggling to release label-saving albums from Throbbing Gristle, 400 Blows and Kevin Ayers. Meetings with company boss Keith Bagley were often held in dusty old daytime drinking clubs around the Fulham Road, but the label was in its death throes. Test pressings sounded good but the printing of the cover was all wrong. The cover image was too green, though thankfully a final batch had this corrected to a more appropriate sepia hue. As it became clear that the release was in danger of a catastrophic failure without the goodwill of distributors and promotors, the label gave the band 250 copies to sell as a ‘Sorry for Fucking Up goodbye present’, but the record shops wouldn’t touch them. The company had been blacklisted. Smith and Alun ‘Wilf’ Williams screen printed the label name off the LP to distance it from disaster, but to little avail. This intricate, challenging and engaging work had been failed by poor circumstance.

CD - Remastered and 7 Bonus Tracks housed in a Gatefold Wallet with Booklet. Limited to 500 Copies.

LP - Black Vinyl housed in Glossy, Printed Gatefold Sleeve, with Offset (matte) Paper Inner Sleeve and Booklet. 500 Copies.