David M Rangel. / June 17, 2026 / Review
Haircut 100 are one of a long list of 80s era new wave bands that are primarily known for one song (one song in the U.S. – in the UK they also had “Favorite Shirts (Boy Meets Girl)”, “Fantastic Day” and others). In their case, the song was called “Love Plus One” with its distinctive nonsense phrase: “Ah-yah-yah-yah-yah-yah / Ah-yah-yah-yah-yah-yah-yah-yah”. Boxing The Compass (a nautical term, which means “a complete change in direction“) is their first record since Pelican West, the massive 1982 record from which those singles originated.
Upon first listen, it is noticeably obvious how singer Nick Heyword‘s voice has not changed or lowered with age. His youthful and exuberant timbre and vocal delivery has remained intact, as if preserved in a time capsule. The record will undoubtedly be a nostalgic delight for listeners who favor this style of funk-infused new wave music. The band sound fresh as ever, also not affected by the passing of time. The record sounds like a piece of history, whose only change is a higher, modern day production value.
First and foremost, Haircut 100 are a funk band to the core. While other components like pop sounding guitar and lush vocals display a prominent presence, it’s the jazzy, funky horn section that is always present and frequently lead this record. There are actually a few instances on this record where it sounds like vocals and other music are secondary, supplementing the horns which take front and center. Dance floor tracks like “Vanishing Point”, “Sunshine” and “Dynamite” are notable examples where the horn section reaches professional levels that would rival such horn oriented bands like Earth, Wind and Fire. Jazzy components also recall other soulful 80s bands that move beyond typical pop tunes such as the Style Council, The Blow Monkeys and other band of that ilk that add a bit of adult sophistication to their pop music.
In addition to the music, Nick Heyward’s lyrical choices are soaked in nostalgia. His word choices are profoundly British and quirky, and often incorporate words and phrases that belong to another time. The phrases and words can be insightful, yet light and playful. The phrases “bricks and mortar” “teenage kicks” and “dazzle ships” may invoke different feelings, depending on who is listening. As the cliché says: if you know, you know.
However horn-infused this recording may be (and this isn’t a bad thing), it still has a lot to offer for fans of more accessible, breezy UK guitar music. “Come Back to Me” opens the record with a summer-style pop sheen, and practically begs for a loud blaring from a car while driving down a sunny open highway. If audio had colors, the track would be the most vivid blues, reds and greens on a comfortable summer polo shirt worn in a California marina. The song is a strong, tuneful way to welcome a band whose current lineup went out on top, 40 + years ago. “Raincloud” is a slightly more crunchy bit of guitar Britishness that recalls a time when rock songs weren’t afraid to be happy. The oddly named “The Unloving Plum” is the epitome of 80s style new wave, sans synthesizers. It recalls quirky Brit acts of the time like The Housemartins and the pristine vocal delivery of Orchestral Maneuvers in the Dark at their most sunny. “Thats a Start” gives a proper mixture of dreamy guitar and the aforementioned funk components. The band shines brightest (arguably) on guitar songs like these in terms of exuded emotion and the kind of feelings music is supposed to make you feel. This is in contrast to the catchy, but more cloying dance funk tracks.
“A Wonderful Life” is the jubilant last track on the album. It closes out the record exactly as it came in – an immaculate picking up where they left off when the band were at the top of their game in 1982. This isn’t to say that musical progress and evolution have not been attained. It has. It is just in a different, more modern context, where a band wanders in after 40 odd years and makes record making in 2026, look effortless.
The album is out everywhere Friday, June 19th, on October is Orange Ltd. Listen to the pre-released tracks here.
The Indy Review 