Devo - Duty Now For The Future

While the most obvious flaw of Devo's Duty Now for the Future is that the material simply isn't as good as on their debut, their second album also captures the group in the midst of a significant stylistic shift. On their first album, for all their herky-jerky rhythms and electronic accents, Devo were pretty much a standard guitars/bass/drums rock band, albeit one with more than their share of eccentricities. Duty Now for the Future found them bringing the keyboards that were used as punctuation on their earlier material into the forefront, adding a new level of irony to their "little minds through big technology" philosophy. While Devo would later learn to use electronics with confidence and wit, they were still learning how to integrate them into their sound on Duty Now, and the results lacked the strength and coherence of their debut. Of course, it also helped that the first album had better songs; the two instrumentals on side one are merely filler, "Pink Pussycat" and "Clockout" are jokes that just aren't funny, and "Triumph of the Will" embraces fascism as a satirical target without bothering to make it sound as if they disapprove. But "Secret Agent Man" is a wittier devolved cover than "Satisfaction," the band rarely sounded as cheerfully creepy as on "The Day My Baby Gave Me a Surprize," and the side two rave up, "Smart Patrol/Mr. DNA" is superbly potent (for all their progressive trappings, Devo were formalists enough to know you make a big rock move near the end of side two.) Duty Now for the Future is hardly a bad album, but it isn't as strong as what Devo had already brought to the table -- or would offer later on.

Devo - Q;Are We Not Men - A;We Are Devo

Produced by Brian Eno, Q: Are We Not Men? A: We Are Devo! was a seminal touchstone in the development of American new wave. It was one of the first pop albums to use synthesizers as an important textural element, and although they mostly play a supporting role in this guitar-driven set, the innovation began to lay the groundwork for the synth-pop explosion that would follow very shortly. Q: Are We Not Men also revived the absurdist social satire of the Mothers of Invention, claiming punk rock's outsider alienation as a home for freaks and geeks. While Devo's appeal was certainly broader, their sound was tailored well enough to that sensibility that it still resonates with a rabid cult following. It isn't just the dadaist pseudo-intellectual theories, or the critique of the American mindset as unthinkingly, submissively conformist. It was the way their music reflected that view, crafted to be as mechanical and robotic as their targets. Yet Devo hardly sounded like a machine that ran smoothly. There was an almost unbearable tension in the speed of their jerky, jumpy rhythms, outstripping Talking Heads, XTC, and other similarly nervy new wavers. And thanks to all the dissonant, angular melodies, odd-numbered time signatures, and yelping, sing-song vocals, the tension never finds release, which is key to the album's impact. It also doesn't hurt that this is arguably Devo's strongest set of material, though several brilliant peaks can overshadow the remainder. Of those peaks, the most definitive are the de-evolution manifesto "Jocko Homo" (one of the extremely few rock anthems written in 7/8 time) and a wicked deconstruction of "(I Can't Get No) Satisfaction," which reworks the original's alienation into a spastic freak-out that's nearly unrecognizable. But Q: Are We Not Men? also had a conceptual unity that bolstered the consistent songwriting, making it an essential document of one of new wave's most influential bands.

Dessau - Exercise In Tension

John Elliott began his musical career as the drummer with Nashville punk rock outfit Cloverbottom. Named after a local state-run home for handicapped children, the band released Nashville's first indie rock record, the “Anarchy In The Music City” EP in 1980. Elliott later experimented with electronic percussion as a member of the Actuals (later known as Factual), but got fed up with the stagnant Nashville rock scene. Elliott moved to Chicago in 1982, where he made important friendships with producer Martin Hannett (Joy Division, New Order) and Ministry member Paul Barker. Returning to his native Nashville in 1985, Elliott served as best man at Hannett's wedding, luring the producer into the studio to work on Dessau's first 12” EP, “Red Languages”. With veteran Nashville rockers Skot Nelson (guitars) and Mike Orr (bass), Dessau would release a series of dance-oriented 12” EPs through the latter half of the '80s, including “Happy Mood” in 1986. The 1988 “Mad Hog” 12” EP featured a remix of the minor dance hit "Unshakeable" by Ministry's Al Jourgensen. Both Jourgensen and Paul Barker would contribute to a 1988 cover of Joy Division's "Isolation" which would become Dessau's dancefloor breakthrough. A full-length album, “Exercise In Tension” produced by Giles Reaves and including "Isolation” would follow in 1989. Dessau stirred great respect in some circles. The circles just never grew big enough to acquire a lasting legacy.

DeadLights - Eleven Step Intervention

Deadlights is the brainchild of Jeff Shelton, whose more prolific outfit The Well Wishers was/is responsible for a steady volley of crunch-laden power pop albums with nary a bum tune in earshot. Deadlights, on the other hand, occupy a more insular space wherein Shelton indulges his jones for more austere Anglophile-informed rock, loosely resembling the likes of Catherine Wheel and the Chameleons; just don't expect anything derivative. The second full-length release mines deeper into the depths of dreampop, shoegaze and melodically-driven post punk. Catchy pop song structures remain at the forefront of the album's 10 original tracks, with a layered, swirling backdrop of echoing guitars, and lush vocal harmonies that conjure a balanced mix of bands like Ride, Swervedriver, The Church, with a Stone Roses guitar roar. 
Right from the get go Shelton doesn’t mess around, opening cut “Because” is a nice opener but it leads to the flat out terrific “Paralyzed” and then the interestingly titled “Out of Step With the Modern World” kicks it home. Elsewhere “Just Let It Go” has a driving beat and a killer hook while having Gretchen’s Wheel vocalist Lindsey Murray adds harmony vocals to the dreamy “Blankets” was a righteous choice while Bay Area musician Bill Taylor added some guitar on a few tracks as well, otherwise it’s all Shelton. For the album’s sole cover, Shelton digs deep into the Pink Floyd catalogue for a surprise rendition of Pink Floyd's Meddle-era deep cut, "Fearless." In his hands the song fits into the shoegaze aesthetic in a way one might not have anticipated. The overarching construct of the song is left intact, but is gracefully filtered through Deadlights modus operandi, blending in seamlessly with this record's ten originals and then kicks us all out into the cool, crisp night.

Dead Can Dance - Garden of the Arcane Delights + John Peel Sessions

Garden of the Arcane Delights + The John Peel Sessions is a definitive archival compilation by the ethereal wave duo Dead Can Dance, released by 4AD in 2016. The release combines the band's sole 1984 EP with their rare, live-in-studio BBC Radio 1 recordings from 1983 and 1984, curated by legendary broadcaster John Peel. Musically, this collection captures the vital evolutionary bridge between the band’s self-titled post-punk debut and the sweeping, neoclassical gothic instrumentation that defined their masterpiece, Spleen and Ideal.

The compilation provides a fascinating dual look at the band's early studio experimentation and raw performance energy. The first four tracks feature the studio EP remastered from the original analogue tapes, including the haunting fan-favourite "In Power We Entrust the Love Advocated". The remaining tracks offer early, stripped-back BBC versions of classic songs alongside rare material like "Instrumental" and "Penumbra", giving listeners a complete, historical document of the band’s formative years in London.

Dead Can Dance - Spiritchaser

Spiritchaser is the seventh studio album by the ambient world music duo Dead Can Dance, released on 3 June 1996 via the independent record label 4AD. Recorded at Quivvy Church in County Cavan, Ireland, the album serves as a hypnotic exploration of global percussion, heavily drawing inspiration from African, Caribbean, and South American tribal rhythms. Moving away from the dense European medieval and Renaissance influences of their early career, core members Brendan Perry and Lisa Gerrard constructed an organic, trance-like soundscape using instruments like rain sticks, shakers, and acoustic guitars. The album is also notable for the track "Indus," which features a melody that intentionally mirrors George Harrison’s Indian-influenced Beatles composition, "Within You Without You."

The album holds a significant place in the band's history as their final studio release before a lengthy 16-year hiatus, which eventually ended with Anastasis in 2012. It acts as a vocal showcase for Lisa Gerrard’s soaring, operatic glossolalia—singing in an invented, unstructured language driven purely by emotion—juxtaposed against Brendan Perry’s rare, grounded vocal contributions on tracks like "Song of the Dispossessed." Dedicated to the memory of Gerrard's late brother Mark, Spiritchaser remains a landmark release in the worldbeat and neoclassical dark wave genres, praised for its seamless fusion of ancient spiritual traditions and modern ambient production.

Dead Can Dance - Toward The Within

Released in October 1994, Toward the Within is the definitive live album and concert film by the neoclassical darkwave duo Dead Can Dance. Recorded in a single, uninterrupted take at the Mayfair Theatre in Santa Monica, California, the performance showcases the band at the height of their ethereal, world-music-infused era. Rather than functioning as a standard retrospective hits collection, the album remarkably introduced eleven completely new, previously unreleased tracks alongside only four songs from their existing studio catalogue. Backed by an accomplished touring ensemble playing everything from uilleann pipes to acoustic percussion, core members Lisa Gerrard and Brendan Perry delivered a spellbinding performance that felt deeply intimate yet overwhelmingly cinematic.

The album’s tracklist seamlessly weaves together traditional folk, Middle Eastern melodies, and medieval textures. Highlights include Gerrard’s devastatingly beautiful vocal performance on "Sanvean"—which became one of her signature pieces—and Perry’s poignant, stripped-back acoustic ballads like "Don't Fade Away." Enhanced by Mark Magidson's accompanying documentary film, which juxtaposed the live set with rare interviews, Toward the Within serves as both a historic timestamp and an artistic triumph. Captured just two months before the historic Northridge earthquake permanently damaged the theatre venue, the record remains a fan-favourite masterpiece that perfectly encapsulates the duo's hypnotic and otherworldly live chemistry.

Dead Can Dance - Into The Labyrinth

Into the Labyrinth is the acclaimed sixth studio album by the Anglo-Australian world fusion duo Dead Can Dance, released on 13 September 1993 through the independent label 4AD. The record marked a major shift for the band, largely moving away from their early post-punk and gothic roots toward a rich tapestry of neoclassical, medieval, and global tribal music. Notably, it was the first album the duo recorded entirely by themselves at Brendan Perry's Quivvy Church studio in Ireland without any guest musicians. Despite writing their material on opposite sides of the planet—Perry in Ireland and Lisa Gerrard in Australia—they crafted a cohesive, atmospheric masterpiece that became their first major commercial success in the United States.

The album's structure seamlessly alternates between Perry's philosophical, folk-infused art rock and Gerrard's otherworldly, ethereal vocal pieces sung in glossolalia. Iconic tracks like the hypnotic, percussion-driven "Yulunga (Spirit Dance)" and the alternative radio hit "The Ubiquitous Mr Lovegrove" showcase the vast sonic palette of the record, which utilizes diverse instruments from the bouzouki to the tin whistle. Revered for its exceptional, spacious production quality, Into the Labyrinth remains a celebrated audiophile classic used to test high-end sound systems, encapsulating the peak of the band's mystical sound.

Dead Can Dance - A Passage In Time

A Passage in Time is a 1991 compilation album by the Australian neoclassical dark wave and world fusion duo Dead Can Dance. Released via 4AD and Rykodisc, it was specifically designed to introduce North American audiences to the band's unique, atmospheric soundscapes after they secured US distribution. The compilation draws material from four of their most influential albums released between 1985 and 1990: Spleen and Ideal, Within the Realm of a Dying Sun, The Serpent's Egg, and Aion. Paradoxically, while the release takes its name from the track "A Passage in Time" from their 1984 debut album, that specific song is not included on this tracklist.

Musically, the 16-track collection serves as a definitive showcase of Brendan Perry’s baritone vocals and Lisa Gerrard’s striking, glossolalia-style singing. The tracks bridge the gap between gothic ethereal wave and historical world music, utilizing Gregorian chants, folk instrumentation, and medieval dance structures like the 14th-century Italian "Saltarello". Alongside fan favourites like "The Host of Seraphim" and "Cantara", the album holds historical value for completists as it features two exclusive tracks, "Bird" and "Spirit", which were recorded specifically for this release.

Nightmares In Wax and Dead Or Alive

Nightmares In Wax - Birth Of A Nation 7'' EP

"Birth Of A Nation" is the definitive 1980 debut 7" EP by Liverpool post-punk band Nightmares In Wax, featuring "Black Leather" and two other tracks, which launched the career of Pete Burns before the band rebranded as Dead Or Alive. Released on Inevitable Records, this rare, paper-sleeved record is a highly sought-after collector's item for fans of 1980s synth-pop. Explore the history of this early Pete Burns project and its cultural significance.

"Birth Of A Nation" is a thrillingly raw snapshot of the late-70s Liverpool post-punk scene, bursting with the gothic camp and fierce attitude that would later define Pete Burns' career. The standout track, "Black Leather," is a brilliant piece of dark wave history that pairs a sleazy, Iggy Pop-inspired bassline with jagged guitar riffs. What elevates the track from a standard post-punk dirge into something truly special is its mid-song transition into a gritty cover of KC & The Sunshine Band’s "That's The Way (I Like It)." Even in this primitive, low-budget package, Burns' theatrical, commanding vocal delivery hints at the massive pop-star charisma that would soon conquer global charts with Dead Or Alive.

The EP's B-side, featuring "Girls Song" and "Shangri-La," dives even deeper into experimental, icy minimalism. Driven by stark drum machines and eerie synth flourishes, these tracks trade the aggressive swagger of the A-side for a gloomy, atmospheric danceability. While the production is undeniably unpolished and primitive, the record's charm lies in this exact lack of commercial restraint. It stands as a vital missing link between the jagged art-punk of the era and the polished synth-pop of the mid-1980s, making it an essential listen for any serious collector of alternative music.

Dead Or Alive - I'm Falling 7''

Released in May 1980 on Liverpool's independent Inevitable Records, "I'm Falling" is the official debut 7" single by English synth-pop band Dead Or Alive. Featuring the track "Flowers" on the B-side, this rare, early release showcases a raw, guitar-driven post-punk and gothic rock aesthetic, distinct from the polished Hi-NRG dance-pop that later defined their commercial peak. Distributed in a limited-run, wrap-around picture sleeve, the single never appeared on a standard studio album, making the original physical pressing a highly prized and expensive collector's item on the secondary vinyl market.

Dead Or Alive’s 1980 debut single "I'm Falling" provides a fascinating, dark glimpse into the band’s origins, long before they transitioned into a chart-topping dance-pop juggernaut. Produced by Ian Broudie, the track is heavily indebted to the post-punk and gothic rock sounds pioneered by contemporaries like Joy Division and Bauhaus. Pete Burns’ signature vocal delivery is already on full display, but instead of anchoring a high-energy electronic beat, his booming baritone wraps around jagged, swirling guitars and moody, atmospheric synthesisers. The track builds a brilliant sense of tension, managing to feel both cinematic and subversively raw—a testament to the vibrant alternative scene thriving in Liverpool at the dawn of the decade.

The single is perfectly balanced by its B-side, "Flowers," which subdues the aggressive edge of the A-side in favour of a more ethereal, slow-burning romanticism. Together, the two tracks showcase a remarkably self-assured and artsy identity for a debut release, even if the band ultimately abandoned this direction for the neon lights of Hi-NRG pop. While casual fans of "You Spin Me Round" might find the lack of a relentless dance beat jarring, "I'm Falling" stands on its own merits as a stellar piece of early-80s new wave history. It is a mandatory listen for anyone looking to understand the full musical trajectory and versatility of Pete Burns.

Dead Or Alive - Number Eleven 7''

Released on March 1, 1981, through Inevitable Records, Dead Or Alive's 7-inch single "Number Eleven" is a highly collectible post-punk track featuring a distinct graphic sleeve. This early, pre-fame release showcases the band's original, darker, and goth-rock aesthetic, featuring "Number Eleven" on the A-side and "Namegame" live on the B-side. To explore this release further, search for the Dead Or Alive "Number Eleven" 7-inch vinyl listing on Discogs.

"Number Eleven" serves as a striking sonic time capsule, capturing Dead or Alive long before they transitioned into high-energy dance-pop icons. Released in 1981, the track leans heavily into a brooding, atmospheric post-punk and goth-rock landscape that rivals the early work of contemporaries like Bauhaus or Siouxsie and the Banshees. Driven by a prominent, moody bassline and jagged guitar riffs, the instrumentation creates a dark, tension-filled backdrop. Pete Burns’ vocals are already commanding and distinct, delivered with a dramatic, deep baritone sneer that injects the track with a raw, theatrical edge. It is a fascinating glimpse into an era where the band prioritized moody, underground art-rock over commercial radio accessibility.

The single's B-side, a live recording of "Namegame," further emphasizes the band's early identity by trading studio polish for chaotic, driving energy. While "Number Eleven" might surprise casual fans who only know the band's mainstream hits, it stands on its own merits as a stellar example of early-1980s alternative British rock. The production is minimal but effective, highlighting a raw chemistry and an edgy songwriting style that the group would eventually trade for synthesizers. For collectors and music historians, this 7" single is more than just a rare piece of memorabilia; it is a compelling, high-quality slice of post-punk history that proves Dead or Alive’s musical roots were remarkably deep and dark.

Dead Boys - Young, Loud And Snotty

Fellow Cleveland types Pere Ubu may have won the artistic kudos for their adventurous, surprising work, but if the goal was just to rock and rock again, then Dead Boys had them totally trumped. Growing up in the Cleveland area, in Catholic schools, Dead Boys were typical punks, rebellious, disgruntled, and looking for a fight. As both title phrase and capsule description, Young, Loud & Snotty accurately defines the predominating aesthetic so well that one could just leave it at that, but there's a lot more going on here than on the face of it.

Originally named "Frankenstein", the Dead Boys were kicked out of their home town venue after playing and at the bequest of Joey Ramone, moved to New York City to join in a "scene" which they knew very little about. 1977 was the ultimate year for punk rock. Before the leather jacket, spiky haired uniforms, before "New Wave" became a recognized genre of music. 1977 was also the greatest year for any punk on the scene... And, sadly enough, many excellent records by great bands got lost or unrecognised in the greater scheme of things.
Needless to say, Dead Boys fitted right in with the rest of the bands that played at C.B.G.B.'s or Max's Kansas City. Fed up with the wimpy crap that was popular rock at that time, they, with the Ramones and many other bands, got up on stage with a mission to piss off and annoy. Eventually, they got the recognition they so deserved and thusly, this album was born. With perhaps surprisingly great production from demi-famous '70s rocket Genya Ravan, the five-some found something sonically smack in-between the US garage/punk heritage of the past and the more modern thrashings from overseas.

Stiv Bators sneers, gobs, gasps and whines with the best of them, but he knows his rock history, as do his band mates. Cheeta Chromee (Lead guitar), Jimmy Zero (Rhythm guitar), Jeff Magnum (Bass), and Johnny Blitz (Drums) are all excellent rock n' roll musicians, Stiv Bators is the star of the show. Mixing Iggy Pop type whoops with his own unique style, Stiv was probably one of the greatest live performers in the history of the genre. In fact, Iggy himself said that Stiv was the second best vocalist, next to Jim Morrison.
Stone cold rock classic "Sonic Reducer" starts things off (amusingly) with all sorts of phased drums and other fripperies that later generations wouldn't consider punk at all. That said, it's still blunt, brilliantly sung by Stiv and kicks out the jams with messy energy. Other all-time greats include the perfect bored-and-needing-kicks anthem "Ain't Nothin' to Do" and the thoroughly wrong "Caught With the Meat In Your Mouth." There's even a rock oldie -- a cover of "Hey Little Girl" live onstage at spiritual home CBGB's. And why not? With great punk rock and great rock, Young, Loud and Snotty perfectly describes the sound and essence of this record.

Dead Boys - We Have Come For Your Children

Coming off one of punk rock's early classic albums, 1977's raw and rough Young Loud & Snotty, you'd think the Dead Boys would have followed the same winning formula on their sophomore release. But as We Have Come for Your Children proves, the album didn't come close to matching the fury of their debut. The reasons for this fumble can be attributed to a few things, but chiefly, it was a poor producer choice (ex-Mountain bassist Felix Pappalardi, who really had no business producing a punk band, and obviously wanted to tame the group). That said, Children isn't a complete atrocity, however; much of the material is strong, and it would have benefited greatly from a grittier production (there was talk of having ex-Stooges guitarist James Williamson produce the album at the time, which would have probably improved the end result). Still, this is the Dead Boys album that contains one of their greatest all-time tracks, "Ain't It Fun," a "live fast, die young" tale that is quite eerie coming from now-deceased singer Stiv Bators (and was later covered by Guns N' Roses). Elsewhere, you can't help but wonder how much better such promising tracks as "(I Don't Wanna Be No) Catholic Boy" and "Flame Thrower Love" would have turned out in the hands of another producer. Since the Dead Boys' discography is short, fans should definitely try to hunt down a copy of We Have Come for Your Children; just don't expect the same knockout punch that Young Loud & Snotty generates.

David J - Crocodile Tears And The Velvet Cosh

While bassist/vocalist David J. Haskins is best known as the bassist for iconic post-punk acts Bauhaus and Love and Rockets, he’s also had a quite prolific solo career, releasing 13 albums since 1983. And his sophomore effort, the long out-of-print Crocodile Tears and the Velvet Cosh was released in 1985, the same year that J. formed Love and Rockets with former Bauhaus bandmates Daniel Ash and Kevin Haskins, and in many ways it acts a precursor to that group (in particular their classic 1987 effort Earth Sun Moon), awash in acoustics and psychedelia, a distinct shift from the harsh and fraught sonics of Bauhaus. The saxophone driven title track recalls Lou Reed’s Walk on The Wild Side crossed with vintage Bob Dylan, Too Clever By Half’s crystalline guitar lines punctuated by the sound of chirping birds. 
J’s calm, laconic vocal delivery remains the constant centre of the album, never rising above the mix or becoming overly histrionic, adding a meditative quality to tracks like the backward guitar laden Imitation Pearls or the country ballad Justine. It’s not all genteel sentiment however, even the dreamy, ethereal track Stop This City speaks to fatigue with the rat race: stop this city, I want to get off. At 13 tracks, Crocodile Tears and the Velvet Cosh is fairly long for an album of the 80’s, but its calm pace and lush atmospherics never out-stays its welcome. For the diehard completest of J’s better known work, this album is well worth adding to your catalogue, to get a better sense of the musical framework that makes this idiosyncratic musician tick.

David J - I Can't Shake This Shadow Of Fear 12''

Released in 1984 on Glass Records, "I Can't Shake This Shadow Of Fear" is a definitive solo 12" maxi-single by David J of Bauhaus, showcasing darkwave and post-punk sensibilities with an extended title track and "War Game" on Side B. Featuring electronic drums from Kevin Haskins, this post-Bauhaus vinyl remains a sought-after collector's item. To find this record, you can explore listings on Discogs.

David Bowie - Waiting In The Sky (Before The Starman Came To Earth)

Waiting in the Sky (Before the Starman Came to Earth) is a 2024 archival vinyl release featuring an early 11-track sequence of David Bowie's 1972 masterpiece, The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Sourced from 1971 Trident Studios tapes, this limited-edition, half-speed mastered album highlights a transitional phase in Bowie's career before the inclusion of major hits.

This collection offers an alternate version of the iconic album, replacing some final tracks with four unique songs—"Round and Round," "Amsterdam," "Holy Holy," and "Velvet Goldmine"—that were originally intended for the album but later moved to B-sides. The release showcases the evolution of the Ziggy Stardust narrative, accompanied by archival photography from that era.

David Bowie - Stage

Originally released in September 1978, David Bowie’s Stage captures the trailblazing Isolar II World Tour across North America, showcasing a pivotal moment where he translated his experimental Berlin Trilogy (Low and "Heroes") to massive live audiences. While the original double-LP was widely criticized for its clinical, chronological track sequencing and muted crowd noise, the definitive 2017 Remaster completely revitalizes the album. By expanding the tracklist to 22 songs and restoring the original concert running order, this modern edition transforms Stage from a fragmented compilation into an immersive, theatrical journey that mirrors the actual arc of the 1978 performances.

Musically, the overview of Stage highlights a masterclass in genre-blending, driven by an exceptional, forward-thinking backing band. Driven by Adrian Belew’s fiercely erratic lead guitar and the legendary rhythm section of Carlos Alomar, Dennis Davis, and George Murray, the ensemble seamlessly bridges the gap between mechanical art-funk, ambient electronics, and classic glam-rock. The restored 2017 tracking begins with the haunting electronic soundscapes of "Warszawa" before evolving into blistering renditions of "Station to Station," "Fame," and "Ziggy Stardust." Ultimately, the remaster stands as a essential historical document, offering unrivaled sonic clarity that secures its place among Bowie's finest live recordings.