Chain Cult - We Are Not Alone 7"

"We Are Not Alone" (officially released as "We're Not Alone") is a powerful 2021 post-punk anthem by the Athens-based trio Chain Cult, released via the prominent DIY punk label La Vida Es Un Mus. Written after the forced cancellation of their 2020 American tour, the track channels the profound isolation, global standstill, and collective anxiety of the COVID-19 pandemic into an uplifting message of solidarity. Musically, it delivers a driving, anthemic energy characterized by propulsive basslines, shimmering melodic guitar hooks, and raw, passionate vocals. The release serves as both a dark reflection of its time and a resilient reminder of human connection, cementing the band's status as a vital voice in the modern international underground punk scene.

Chain Cult - Shallow Grave

Athens’ Chain Cult wastes no time, opening the album with a catchy chorus-laden guitar riff that would sound just as much at home on a new-wave record as on a dark melodic punk record. Coming out of the Greek punk scene a new Chain Cult record is especially head-line grabbing. Their first full length, following a great Demo 12″and 7” “Isolated” from 2018, recorded after gigging almost non-stop for two years, all over Europe; and you can tell, the exercise has given them a huge boost, tighter and more confident than before, fearlessly taking-on big tunes and ambitious song structures, this is an LP that has class written all over it. Recorded at Ignite Music by George Christoforidis during May and July of 2019, Shallow Grave shows Chain Cult’s post punk is militant and idealistic, putting music to a very dark and bleak time and place. Anthemic song writing and adventurous drumming tie the sound together. You can hear echoes of early The Cure, The Sound, Second Empire Justice era Blitz or Wipers in their music but also the passion and conviction is rawer, more energetic and straightforward, definitely my cup of tea. 

Chain Cult – Isolated

Chain Cult’s debut single came out summer 2018 and is a great successor to their really powerful demo (also available if you ask for it). The band had been around for just a year but already they had managed to do as much as most DIY punk bands do in five years—two releases and a European tour! Chain Cult play dark and broody postpunk, as so many other bands do, but they play it with a hardcore-indebted ferocity that makes their music hit hard. They have a way with anthemic choruses and snaky, atmospheric riffage. On Isolated, Chain Cult have upped the intensity and dark atmospherics. The sound is bigger and more focused. The guitar work is haunting and flanged and the rhythm section locks in, keeping the energy high. It sits somewhere between a more up-tempo Killing Joke and Warsaw while remaining a band of their time. Short, sincere and to the point—this is a record that ticks most boxes for me. Dark, uplifting tunes with lyrics about personal and political topics, with pretty catchy, yet abrasive sing-alongs.

Celia And The Mutations - Mony Mony 7" and You Better Believe Me 7"

Celia and the Mutations debuted in June 1977 with a fiery, punk-infused cover of Tommy James and the Shondells’ 1968 classic, "Mony Mony." Backed entirely by the classic line-up of The Stranglers—JJ Burnel, Hugh Cornwell, Dave Greenfield, and Jet Black—the A-side layered Celia Gollin’s polite, refined vocals over aggressive, driving instrumentation. Its B-side, "Mean to Me," featured the same line-up and delivered a similarly gritty, New Wave-tinged energy. Music journalists at publications like Melody Maker predicted substantial hit potential for the release, but it ultimately failed to chart, quickly transforming the 7-inch vinyl into a rare, highly sought-after collector's item for punk enthusiasts.

The project's second and final 7-inch single arrived in October 1977, showcasing two entirely different backing line-ups. The A-side, "You Better Believe Me," credited to Celia and the Fabulous Mutations, was co-written by Gollin and JJ Burnel. While Burnel remained on bass, the track brought in legendary Dr. Feelgood guitarist Wilko Johnson and Rockpile drummer Terry Williams, creating a sharp, pub-rock-influenced punk sound. In contrast, the B-side, "Round and Round," credited to Celia and the Young Mutations, dropped the Stranglers connection completely. Instead, it featured Phil Chambon and Andy Arthurs from the power-pop band Tonight, offering a lighter, more radio-friendly pop style that marked the end of the short-lived studio experiment.

All four tracks have the magnificent JJ Burnel Bass sound, but once we lose the plodding Jet Black Drumming, and Hugh Cornwell's anaemic guitar. Bring in Wilko's choppy Tele, ably backed up by one time Rockpile stick-man Terry Williams; we get something verging on the very good.

Catherine Wheel - Ferment

Centred around re-recorded versions of four songs from the band's two Wilde Club singles and the seven minute lovelorn "Black Metallic" - which was referred to as the "Like a Hurricane" of the ‘90s - the deeply rich Ferment firmly established Catherine Wheel amongst the shoegaze contingent of the early ‘90s. The band would proceed to denounce the shoegaze tag, but it was a fitting one, at least with everything they released prior to 1993's harder edged Chrome. Along with bands like Lush, Ride, and Slowdive, Catherine Wheel buried their sing-along melodies in wafts of distortion and blurry production values. Rob Dickinson had yet to find comfort as a lead singer, so his somewhat fey and dazed emoting blended perfectly with Tim Friese-Greene's comfy production. A fair amount of the bands thrown into the same category as Catherine Wheel were criticized for lacking knowledge of their instruments, but a couple listens to Ferment should prove that they were hardly amateurish. The employment of numerous guitar pedals didn't serve as a smoke-and-mirrors ruse, and Friese-Greene knew enough to allow room for bassist Dave Hawes and drummer Neil Sims to flex their able muscles. Dickinson and lead guitarist Brian Futter were immensely skilled and complementary to each other from the band's inception; certainly they were one of the most unrecognized guitar duos of their stylistic brethren. Like all fine debuts, Ferment is varied emotionally, ranging from lust ("I Want to Touch You") to bliss ("Shallow" and "Salt"). It's a record that makes you want to crawl inside its sleeve and remain. It's as welcoming as it is insular and sheltered.

Catherine Wheel - She’s My Friend 12" and Painful Thing 12"

Catherine Wheel’s debut 12'' EP, She’s My Friend, stands as a monumental landmark in early 1991 shoegaze. It perfectly captured a band transitioning from regional indie hopefuls into alternative rock heavyweights. While contemporary peers like My Bloody Valentine immersed themselves in abstract, hallucinatory walls of sound, Catherine Wheel welded their ethereal textures to an immense, muscular rhythm section. The original title track drives forward with a propulsive bassline and jagged, chiming guitars. This approach provides a darker, more aggressive edge than the polished re-recording found on their later album, Ferment. Rob Dickinson’s intense, yearning vocals slice directly through the feedback. This creates a captivating tension between soaring melody and raw, distorted power.
The EP's true brilliance lies in how its three B-sides showcase the band's remarkable versatility right out of the gate. "Upside Down" and "Wish" offer masterclasses in dynamic control. They alternate effortlessly between delicate, shimmering verses and explosive, roaring choruses that hint at the post-grunge sounds of the mid-90s. Meanwhile, the original blueprint of "Salt" delivers a haunting, slow-burning atmosphere. It drips with melancholic reverb and feedback. This four-track collection transcends the status of a mere historical curiosity or a collector's item. It remains a gripping, cohesive, and essential sonic document. It proves that Catherine Wheel arrived with their visionary sound fully formed.

Catherine Wheel - Painful Thing 12''

Catherine Wheel’s second 12", Painful Thing, stands as a ferocious blueprint for the early 1990s shoegaze movement. While contemporaries like My Bloody Valentine leaned into ambient dreamscapes, this four-track release bridges the gap between ethereal textures and muscular indie rock. Tracks like "Shallow" and the title track surge with massive, overdriven guitar riffs that never sacrifice melody for noise. Rob Dickinson’s yearning vocals cut clean through the dense wall of sound, creating a tense, atmospheric dynamic that immediately separated the band from the typical "shoegazer" crowd.

The 12" shines brightest as a historical snapshot of a band finding its identity. The inclusion of an early version of "I Want To Touch You"—which would later be polished into a massive alternative radio hit for their debut album, Ferment—shows the raw, unrefined energy of their earliest studio sessions. The production on this Wilde Club Records release is punchy and direct, capturing the band's live power before they transitioned to major-label sheen. For vinyl collectors and alternative rock historians, these four tracks remain a vital, intense reminder of how heavy and thrilling the shoegaze genre could be at its inception.

Catastrophe Ballet - ...All Beauty Dies

Released in 2006, ...All Beauty Dies is the seventh full-length studio album by the German gothic rock band Catastrophe Ballet. Distributed across Europe via Spirit Production and Indigo, the 13-track record marked a mature "back to the roots" turning point for the group. Frontman Eric J. Burton and his bandmates deliberately shifted away from their previous experimentation with heavy industrial metal and electronic future-pop. Instead, they placed the primary focus back on classic, organic songwriting, striping away dense digital layering to deliver a streamlined and melody-driven darkwave experience.

Musically, the album balances aggressive, guitar-driven gothic rock workouts with atmospheric, melancholic ballads. Prominent tracks like "Consequently" and the title track emphasize strong hooks and high hit potential, while the band incorporates subtle, sporadic electronic accents to enrich the mood without overpowering the traditional instruments. The album also features creative sonic touches, such as a guest appearance by flamenco guitarist Lulo Reinhard, resulting in a cohesive work that remains highly regarded by fans on specialized platforms like AlterNation.

Catastrophe Ballet - Monologues Of The Past And The Future

Catastrophe Ballet was founded in 1989 by Eric Burton (vox) in a small town called Bitburg (you may still know the Ramones song "Bonzo goes to Bitburg"). Eric was interested in writing music with sounds and messages beyond the happy side of pop. A big influence on him and the few who started with him were bands like Killing Joke, The Sisters Of Mercy, Bauhaus, The Cure and Fields Of The Nephilim. After the first appearances in 1990, Catastrophe Ballet had already earned a considerable reputation. The first two demo tapes sold very well and the first tour of Germany was a complete success. In 1991, Catastrophe Ballet recorded their first album "Monologues Of The Past And The Future" on their own label, Floor Rec. The 1000 copies that were pressed were only available at concerts and sold out within a very short time.

Car Crash Set - Join The Car Crash Set

"Join The Car Crash Set" is a compilation album featuring the 1983-1986 recordings of a pioneering New Zealand synthpop and minimal wave band. Released by Anna Logue Records, it gathers rare 12-inch singles and demos, highlighting the group's blend of moody guitars, vintage electronics, and post-punk energy.

Car Crash Set - No Accident

Pioneering New Zealand electronic pop band Car Crash Set have almost disappeared without a trace. Which is strange because Car Crash Set’s 1983 debut 12-inch single ‘Two Songs’, housing ‘Outsider’ and ‘Fall From Grace’ on the flip, is one of the finest EPs ever released. From the moment the insistent drum machine rhythm of ‘Outsider’ hits the speakers it’s obvious we’re listening to something special. The sequencer then provides a powerful, infectious melody that pulses and clicks like Kraftwerk on krack, before singer Nigel Russell finally implores, “Well I’m feeling so nervous and I don’t want to show, just how much I really need you so don’t let me go.” More new wave than new romantic, both songs reveal a fondness for the drama of love, with Russell’s mournful lyrics and voice evoking Joy Division’s Ian Curtis and New Order’s Bernard Sumner.

Car Crash Set - Two Songs 12''

"Two Songs" is the influential 1983 debut 12-inch vinyl release by Auckland-based electropop pioneers Car Crash Set, marking a historic moment as one of New Zealand's earliest independent electronic records. Featuring the moody, driving synth-pop tracks "Outsider" and "Fall from Grace," this minimal wave EP helped establish a dark electronic blueprint in the region's music scene. You can explore the history of Car Crash Set's pioneering work at various music archive websites.

Captains Of Industry – A Roomful Of Monkeys

A Roomful of Monkeys is the sole studio album by the British new wave/pub rock supergroup Captains of Industry, released in 1985 on the Go! Discs label. The band was a short-lived project fronted by the iconic Stiff Records singer-songwriter Eric Goulden, better known by his stage name Wreckless Eric, who temporarily dropped his famous moniker for the release. Seeking a fresh musical direction, Goulden assembled an exceptional backing lineup of veteran British musicians, featuring Ian Dury & The Blockheads members Norman Watt-Roy on bass and Micky Gallagher on keyboards, alongside drummer Dick Adland. The resulting 10-track LP delivers a bleak, cynical, and cuttingly witty commentary on middle-class decay and daily survival in Thatcher-era England.
Despite the high-caliber musicianship, the album was a commercial and critical failure upon release, largely ignored by the public and panned by contemporary critics, which led to the group's swift disbandment. For decades, Goulden openly expressed regret over the record, believing that while it contained some of his finest, most mature songwriting, the final studio production completely missed the mark. This long-standing dissatisfaction culminated four decades later when Wreckless Eric entirely re-recorded the tracklist for his critically acclaimed solo album, England Screaming. Stripping away the polished 1980s studio gloss in favour of a fierce, scrappy garage-rock aesthetic, the reworking successfully reclaimed and vindicated the forgotten material.

Captain Sensible - Women And Captains First

Women and Captains First is the 1982 debut solo album by English punk musician Captain Sensible (Ray Burns), best known as the guitarist and co-founder of The Damned. Released on A&M Records, the project was a dramatic, playful departure from his aggressive punk rock roots, steering heavily into synth-pop, new wave, and eccentric psychedelic pop [A&M Records]. Produced by Tony Mansfield of the band New Musik, the record features distinctive backing vocals by the indie-pop trio Dolly Mixture and songwriting contributions from alternative icon Robyn Hitchcock [Women And Captains First, Expanded Edition CD by Captain ...].

The album achieved lasting commercial success largely on the strength of its chart-topping, unconventional hit singles. It features the eccentric, rap-influenced electronic dance track "Wot", which became a massive hit across European clubs, and a vibrant synth-pop cover of Rodgers and Hammerstein's "Happy Talk", which famously climbed all the way to No. 1 on the UK Singles Chart. Balancing quirky humor with sharp pop hooks, the album remains a beloved cult classic of early 1980s British alternative music, widely celebrated through expanded reissues

Captain Sensible - Five Bonus Singles

With HUGE thanks to DJ-JefRedy @ My Vinyl Dreams, and with no fanfare what-so-ever, a broad selection of the Captains single output during his years in the wilderness. One fat folder for your taste buds to salivate over....Dig In

Captain Sensible - This Is Your Captain Speaking & The Authorities - Soundtrack For Trouble EP

Released in 1981 on Crass Records, This Is Your Captain Speaking remains an eccentric, fascinating artifact of the UK punk scene that successfully bridges two wildly different musical worlds. On paper, a collaboration between Captain Sensible—the colorful, pop-leaning guitarist of The Damned—and the fiercely dogmatic anarcho-punk collective Crass sounds like an impossible match. Yet, this three-track 7" EP thrives on that exact friction. Backed by Crass mastermind Penny Rimbaud on drums and the indie-pop trio Dolly Mixture on backing vocals, the record manages to subvert expectations. It filters Crass's urgent, bleak anti-war messaging through Sensible’s undeniable gift for bright, infectious power-pop hooks, making it one of the most accessible and unique releases in the entire Crass Records catalogue.

The material across both sides perfectly captures this bizarre sonic collision. The standout A-side track, (What D'Ya Give) The Man Who's Gotten Everything?, layers Rimbaud's biting lyrical critique of consumerism over a driving, upbeat melody that you cannot help but hum along to. Meanwhile, the B-side's The Russians Are Coming pairs cold-war anxiety with quirky, synthesizer-tinged arrangements, showcasing Sensible’s evolution toward the synth-pop sound that would soon define his massive solo hits like Happy Talk. Far from a mere novelty, this EP is a brilliant example of artistic cross-pollination. It proves that punk's rigid boundaries could be delightfully bent, offering listeners a catchy yet thought-provoking snapshot of 1980s subculture.

Camouflage - The Great Commandment 12''

I've heard a lot worse synth pop, but the chief interest this supplies is in demonstrating how Depeche Mode were a huge influence on continental European synth-pop bands, selling back their commercialized brand once influenced by more abrasive continental European outfits. With more than a passing knowledge of German synth-pop I hadn’t even heard of Camouflage (apart from the single by Stan Ridgway) in the late 80’s. Listening now to what is in effect a Depeche Mode tribute band it's no wonder the band ever got any recognition. That all being said, this is actually worthy of a couple bonus points because this is Depeche Mode at their early electro synth-pop best. The 12” mixes wouldn’t sound out of place if included on an 80’s synth-pop mix tape. Definitely worth the 3 minutes it takes to download if you like early 80’s electro synth.