Re-mixed and re-mastered for 2016 in vastly enhanced stereo. HHNC finally gets the treatment originally envisaged in 2012. Now with half of the vocal tracks re-recorded and most of the songs re-edited, this album is to be considered Porl B's true debut as a solo artist. With all drum machines, samplers, keyboards, vocals, production and mastering performed by the principal, this is an ambitious project, but one that is faithful to the vision of Klorophorm's instigator and agitator. Starting off with MIDNIGHT and it's haunting vision of a dream like state, we are taken to a world of latent-fear and realization of the realities behind the facade we readily accept and prop up in modern society. Contra bass and Rhodes piano samples dominate the backdrop with the subtle drum track being manipulated with live effects and becoming progressively harder as the lyrics dictate. Next up is SEX RHYMES, a story of temptation and unrequited desire delivered through helium vocals over an immense bass line and forward moving drum track. On this track we hear Porl using his ring effects create radio noise on the extraordinarily deep sub-bass line and fire cracking reverbs on the record noise. This kind of inventive use of live effects continues throughout the album. On GHETTO WALTZ we change pitch and the lyrics become playful and comedic. Again a pastiche of modern life in which the possibilities and fun we can have whilst trying new things are painted over an uplifting 8 bar drum and sample loop, with EMU keyboards providing constant progression whilst being sequenced to feel like a full band. This track is the original mix re-mastered for 2016. This time in crisper, more dynamic style whilst retaining the sub bass and heavy kicks that were a feature of the original recording. On to the plasticised keys and megaphone processed faux Germanic breakdown of the true motivations of men on GENGHIS KHAN, this is an album full of innovation and spontenaeity on the vocal recording. Using all manner of tube amps, mixers and whatever analogue or digital tech. came to hand, the result is something organic and wholesome, but as usual sonically challenging and comedic. Possibly the HIGHLIGHT OF THE ALBUM comes on the classic diss rhyme THROWIN' DOWN. But before you get your rile up ladies and queens, this one's going out to men with recessive genes. A rap directed at the petty gossip and jealousy amongt the never will be crew. The bass line is remeniscent of Ice Cube's Ghetto bird, and pulls the listener in to a state of unreserved confidence in it's bile and dismissiveness. The delayed megaphone vocals just float around it, leaving vocal lines cut up by the icy string stabs, trailing after one another and accentuating the cutting and direct diminution of a couple of people who've showed themselves to be less than brave. GETTIN' HYPED is re-worked around a wicked old skool beat and some rough way wah guitar licks. "then I got liberal with the scratching. Working two effectors and changing thel tones and delays to make a bragadoccio club track without any rapping on my part". Then there's the TITLE TRACK HHNC which has elements of the whole album encapsulated in it. "My first ever rap track, made seven years ago and re-hashed for this album, it's still my favourite rhyme and the lyrics provide a succinct breakdown of my thought processes in music". CHINX IN MY ARMOUR was written after a drinking session which almost resulted in a fight with a Yakuza. When the yakuza guy went home, Porl ordered another pint of Guinness and wrote this rhymel full of comedy and honesty. An inventively produced track of heavy staccato kicks and snares, descending delayed bass with keyboard samples you might know if you were rocking the vinyl in the 90's. "That the lyrics fit the pre determined title for the beat TAMARU, meaning build up, was pure coincidence and reminded me of the synchronicity that so often occurs in music". ."Having set out as a producer/performer with the aim of creating a bangin' Hip-Hop album in my first release on Rejectone Records, there were elements of hip-hop, but I got carried away with jazz and broken beats at that time, leaving me still full of BOOM CLACK and lyrical musings. This time I was determined to make a beats and rhymes album which makes heads nod from start to finish and shocks a few people who until now knew me just as a producer, by dropping some science on the mic too". However, BOOM CLACK is a comedic track where Porl uses a vintage mic and effector as an intrument to focus the scratched laughter of Liz Fields and the stabbing synth play. A fun track in the middle of all the thoughful lyricism. RUTH BENEDICT is another academic hero, and her namesake track was written in the wake of reading her classic anthropology text and realising that even though we're in a civilising process we're no further towards equity or realism in our political and voting systems. Re-edited to be simpler, with the live feel of the drum track and bass line providing the main back drop for the re-recorded vocals, this is a luscious and smooth ode to one of the prominent academics of our time. Beats, rhymes, keys, vocals, production, mastering and whatever else necessary by Porl B.