Various Artists - I'm A Cult Hero

The I'm A Cult Hero Various Artists compilation is a highly sought-after, unofficial double-vinyl bootleg LP celebrating rare post-punk, darkwave, minimal synth, and goth rock. Pressed around 2009 with a fictitious copyright date of 1989 on the jacket, this release functions as a deep dive into the dark, experimental sounds of late-1970s and 1980s alternative subcultures. The compilation borrows its title and stylistic ethos from Robert Smith’s legendary 1979 side-project single. It bridges the gap between raw punk and early industrial styles, featuring standout cuts like Ministry's synth-heavy early single "Same Old Madness", The Damned's psychedelic-goth cover of "Alone Again Or", and The Sound's brooding post-punk anthem "I Can't Escape Myself". By packaging these rare, influential tracks together, the compilation serves as a historical capsule of the era's moody counterculture.

The release is highly distinctive for its physical format and curated tracklist, which brings together a mix of rare singles, obscure B-sides, and foundational goth anthems across its four sides. The first record (LP1) is pressed on standard black vinyl, while the second record (LP2) is pressed on blue vinyl. The tracklist spans legendary underground acts like Nightmares In Wax (an early incarnation of Dead or Alive) performing "Black Leather", alongside foundational tracks from Death In June, Sex Beat, and early My Bloody Valentine. It also highlights rare minimal synth tracks from artists like Cetu Javu, Snowy Red, and John Bender. Because of its unofficial status and limited pressing, this compilation remains a rare collector's item for vinyl enthusiasts seeking the definitive soundscapes of the post-punk movement.

The I'm A Cult Hero Various Artists compilation is a masterfully curated, unofficial double-vinyl bootleg that serves as a definitive time capsule for the late-1970s and 1980s alternative underground. Taking its title and rebellious spirit from Robert Smith’s legendary 1979 side-project single, this release bypasses mainstream new wave hits to unearth the jagged, brooding underbelly of the era. Officially circulating around 2009—despite a tongue-in-cheek "1989" copyright date stamped on the jacket—the compilation bridges the gap between raw, aggressive post-punk and the cold, mechanical soundscapes of early industrial and darkwave music.

The first record sets an intensely atmospheric mood, focusing heavily on driving basslines and melancholic melodies from foundational post-punk and goth-rock pioneers. It kicks off with Ministry's rare, synth-heavy 1982 single "Same Old Madness," showcasing Al Jourgensen's early synth-pop origins before his shift into heavy industrial metal. This is seamlessly balanced by The Damned’s hauntingly psychedelic-goth cover of "Alone Again Or" and The Sound's masterclass in tension, "I Can't Escape Myself." Side B further elevates the compilation’s historical value by featuring "Black Leather" by Nightmares in Wax—the short-lived, seminal incarnation of Pete Burns' Dead or Alive—alongside the fierce, club-driven goth anthem "Sex Beat" by the band of the same name.

As the compilation transitions into the second record, the sonic palette shifts from organic guitar-driven gloom toward abstract minimal synth and rare avant-garde experimentation. Listeners are treated to early, abrasive textures from My Bloody Valentine and the neofolk-goth stylings of Death In June. The compilation truly shines in its inclusion of obscure, highly sought-after electronic rarities; Spanish synth-pop act Cetu Javu delivers cold melodic hooks, Belgian project Snowy Red provides aggressive electronic rhythms, and DIY electronic pioneer John Bender contributes raw, minimalist lo-fi frequencies. This broad sonic spectrum ensures the album feels less like a random playlist and more like a carefully mapped out genealogy of dark alternative music.

For vinyl collectors and historians of the post-punk movement, the physical release itself is a highly prized artifact due to its striking presentation and scarcity. The package features a unique color-coded press, with the first disc (LP1) utilizing standard black vinyl and the second disc (LP2) pressed on a vibrant blue vinyl. Because it was manufactured as an unofficial, limited bootleg, it completely evaded traditional retail distribution and remains absent from digital streaming platforms. Today, it stands as a legendary holy grail on the secondary market, fiercely hunted by audiophiles who wish to experience the authentic, unpolished counterculture of the 1980s in its native vinyl format.

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LP 1 (Black Vinyl)

Side A

A1: Ministry – "Same Old Madness" (A rare synth-pop single from 1982)

A2: The Damned – "Alone Again Or" (Their 1986 psychedelic-goth cover of the Love classic)

A3: The Sound – "I Can't Escape Myself" (The atmospheric opener from their 1980 album Jeopardy)

Side B

B1: Nightmares In Wax – "Black Leather" (The 1980 punk-synth cult track by Pete Burns' pre-Dead or Alive band)

B2: Sex Beat – "Sex Beat" (The driving, titular goth-rock club track from 1985)

B3: My Bloody Valentine – "Forever And Again" (An early gothic-rock track from their raw 1985 This Is Your Bloody Valentine mini-album)

LP 2 (Blue Vinyl)

Side C

C1: Death In June – "The Calling" (A moody, martial post-punk track originally released in 1985)

C2: Cetu Javu – "Por Favor" (A 1989 German minimal darkwave/synth-pop track)

C3: Hard Corps – "Dirty" (An obscure 1984 UK electronic/minimal synth track)

Side D

D1: Snowy Red – "Madman" (The frantic 1982 minimal electronic anthem by Belgian artist Mickey Mike)

D2: John Bender – "39A5 Something" (An experimental, lo-fi DIY minimal electronics track from 1980)

D3: Marc and the Mambas – "Sleaze" (A dark, sleazy 1982 new wave/cabaret cut from Soft Cell's Marc Almond)