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BBC versions of classic songs alongside rare material like "Instrumental" and "Penumbra", giving listeners a complete, historical document of the band’s formative years in London.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.

David Bowie - Legendary Lost Tapes

The Legendary Lost Tapes (1972–1973) is a celebrated 1998 unofficial bootleg capturing David Bowie at the absolute zenith of his Ziggy Stardust era. This release is highly prized by collectors for its rare, behind-the-scenes glimpse into Bowie's creative peak, split between intimate studio recordings and raw live energy. It serves as a vital historical document of a time when Bowie was actively redefining the boundaries of rock music and visual style.

The album's first half features invaluable May 1972 Trident Studio sessions, highlighted by Bowie's original guide vocal track for Mott the Hoople's "All the Young Dudes" and collaborations with Lou Reed. The second half shifts to a gritty, audience-recorded January 1973 concert at Green’s Playhouse in Glasgow. While the live audio is strictly bootleg quality, the compilation remains an essential artifact for completists, capturing the fierce, unvarnished spirit of the Spiders from Mars.

David Bowie - ChangesTwoBowie

Changestwobowie, released in November 1981, is the official companion and sequel to David Bowie’s highly successful 1976 greatest hits collection, Changesonebowie. Instead of a straightforward chronological progression, this compilation acts as a curated bridge across Bowie's most chameleonic decade. It blends essential early-1970s tracks that missed the first volume, such as "Starman" and "Oh! You Pretty Things," with his groundbreaking late-1970s experimental work. This includes landmark tracks from his Berlin Trilogy and the art-pop masterpiece Scary Monsters (and Super Creeps), creating a diverse sonic portrait of an artist in constant mutation.

The album's tracklist highlights Bowie's incredible stylistic range, moving effortlessly from the avant-garde jazz-piano of "Aladdin Sane" to the jagged, danceable funk of "Fashion" and "D.J." It also features unique standouts like the sweeping, dramatic ballad "Wild Is the Wind" and the funk-infused "John, I'm Only Dancing (Again)." While it initially went out of print in the late 1980s, Parlophone officially remastered and reissued the album on vinyl and CD in 2018. Ultimately, Changestwobowie serves as a vital historical document that captures the dizzying scope and chaotic brilliance of Bowie's most innovative era.

David Bowie - ChangesOneBowie

ChangesOneBowie, released by RCA Records in May 1976, stands as the first official greatest hits compilation documenting David Bowie’s most chameleonic era. Capturing his rapid sonic evolution between 1969 and 1976, the 11-track collection seamlessly charts his trajectory from cosmic folk and theatrical glam rock into the smooth "plastic soul" of the mid-70s. By gathering career-defining singles like "Space Oddity," "Changes," and "Fame" onto a single disc, the album served as both a commercial powerhouse and the definitive introduction to his shapeshifting artistry.

The compilation achieved massive commercial success, peaking at number two on the UK albums chart and number ten on the US Billboard 200, cementing Bowie’s newfound status as a global superstar. Beyond its chart performance, ChangesOneBowie became a legendary artifact among music collectors due to a rare first-pressing error in the UK that accidentally included an unreleased saxophone version of "John, I'm Only Dancing." Celebrated for its iconic, stark black-and-white cover art and flawless track sequencing, this landmark release permanently codified Bowie's golden era and set the standard for rock retrospective albums.

Danielle Dax - Dark Adapted Eye

On the evidence of Dark Adapted Eye, Danielle had really hit her stride and achieved a versatile, bubbly kind of fusion pop with Inky Bloaters; the third solo work which comprises most of this US compilation and has become her de facto hallmark collection. As a performer and recording artist Dax came from the punk-infused, experimental UK underground of the late '70s, and her previous band, Lemon Kittens, threads into that web of groups sprouting in this period; Throbbing Gristle, Nurse With Wound, Coil and their various cross-pollinating sub-units. The track-listing of Dark Adapted Eye nods to these roots with only a handful of earlier solo tracks bookending the scrambled Inky Bloaters running order, with some single mixes. Not the most comprehensive overview of a unique musical trajectory then, but rather an exportable capsule that focuses on a near-perfected sound, perhaps emphasising superficial parallels to Siouxsie and Kate Bush (although Dax is as much a kindred spirit of Lizzy Mercier Descloux in her playful use of abnormal instrumentation).

While her albums had largely been experimental affairs, by 1987 Danielle Dax began making more accessible music - not necessarily commercial, but certainly records that really SHOULD have cracked the mainstream. Following her excellent 'Inky Bloaters' album, which again scored hot reviews from the music press (yet commercial stations like Radio 1, which could really make or break a record in terms of commercial success, continued to shun her apart from the odd late-night airings by more open-minded DJs) and another of her concerts being televised (this time in Japan), she unexpectedly signed to major record label, Sire, in 1988, after years of recording independently. The subject of this review, 'Dark Adapted Eye', was a compilation released to help break her through in America. Although not gaining widespread commercial recognition, she again amassed a cult following in the States through this release. In effect, it contains every track featured on her third solo album 'Inky Bloaters' (1987) bar 'Born To Be Bad' and a selection of offerings from her earlier experimental solo work.

Kicking off proceedings with a bang is her stomping underground club hit from 1988, 'Cathouse'. Set to a blistering, urgent beat, the track has psychedelic flourishes throughout, while the risqué lyrics are riddled with sexual innuendo: "I'm gonna polish up your chrome and shine your treasure." Whatever could she mean??? Known for her wide vocal range, Dax sings in her medium range, her sexually-charged voice pouring with conviction and attitude. While 'Cathouse' became a huge underground hit and flew high on the independent charts (the UK Indie Singles Chart being one of them, where it embraced the top ten), it failed to crossover to the mainstream, possibly due to the commercial radio station's reluctance to play it because of its blatant sexual nature. Even so, it's still fondly remembered by those that were aware of it and is now something of a forgotten (and sadly overlooked) classic.

'Big Hollow Man' was another international underground club hit, yet got nowhere near the UK top forty. Packing a big punch like its predecessor, the lyrics may have been seen as less than conventional at the time by commercial radio, centred around organised religion and all its hypocrisies. Yet the arrangement is smacked with commercial potential, bearing such immediacy and carrying another sizzling beat. Dax fluctuates her vocals accordingly, beginning in high pitch that sounds a little like Cyndi Lauper, to her lower range where her vocals sound menacing, sarcastic and cynical. Such a pity this song wasn't a mainstream hit as it most certainly deserved to be.

The hard-hitting 'White Knuckle Ride' contains a thrashing indie-rock arrangement, and is a song based on the horrific Charles Manson murders. Released as a single in the UK, it swiftly topped the Indie Singles Chart yet got nowhere near the pop chart. She was far from a conventional recording artist and perhaps this was a factor in why songs like 'White Knuckle Ride' didn't crack the mainstream. Bizarrely, Sire Records' gimmicky promotional adverts hailed her as the British version of Madonna (Madonna was also signed to Sire) which was really an inaccurate description to say the least.

Things slow down on the more intricate ballad 'When I Was Young', bearing an acoustic-led arrangement and Dax showing her more sensitive side in a song about the simple pleasures of childhood. 'Yummer Yummer Man' was her first solo single, released back in 1985, which had been featured on 'Inky Bloaters' and boasts a quirky arrangement to say the least, entwining elements of punk, rock and indie rolled into one. 'Fizzing Human Bomb' hosts a gothic-like arrangement, with an impressive bongo solo and echoes of Arabic sounds dropped neatly into the mix, while the lyrics depict a woman's sexual repression!

'Whistling For His Love' is easily the most pop-flavoured and radio-friendly numbers in her entire catalogue. With a more universal theme, the track is sharp and punchy while Dax sounds at her most accessible vocally, proving she definitely had a knack for making good, credible pop music although it was a path she didn't want to venture down too much. This song was for the masses and if there was a case for her being the British equivalent of Madonna, this was most definitely it.

'Flashback' holds a sparse, yet nifty arrangement which packs a good punch and Dax singing in her lower range, while there is a neat injection of twangy country music set to a disco beat creeping in on 'Inky Bloaters', which is also the case with her sneering ode to Margaret Thatcher on 'Bad Miss M' (who, at the time of Dax recording, was the UK's Prime Minister). The lyrics could be described as controversial, depending on your view, with lines such as : We'll all have a party when you are gone/Spit on your grave and sing a song. These songs certainly show what an eclectic flair she has.

'Brimstone In A Barren Land' speaks of the devastating effects of post-nuclear war, which is wrapped in a trippy yet slick arrangement which lands somewhere between soul and indie and holds many ethereal sound effects weaving sporadically in and out of the mix. A slithery beat is highlighted by some stunning guitar work. 'Touch Piggy's Eyes' makes a good dance song, some wonderful harmonica interludes featured on the chorus, while 'House Cat' is an off-beat house music instrumental, which once again plays host to Middle Eastern sounds.

At this point the compilation delves further back into her earlier experimental work: 'Bed Caves', from her critically-lauded solo debut 'Pop Eyes', begins with four pulses before bursting into urgent, tribal-pounding drums. A fuzzy guitar kicks in, and across the layered arrangement which also includes a rumbling keyboard, she sings in a high soprano in the style of an Indian pop star. The same words are repeated over again: Today is not the same as before/Starting with a clean slate/Promises of a new reward, punctuated by a tinkling xylophone. Utterly beguiling and though these lyrics sound full of optimism, there is just something under the surface that makes you think that all is not as it seems. There's a sinister air that lingers throughout the track and Dax sounds gleeful yet at the same time cynical and detached.

'Sleep Has No Property' sounds like it could have easily been from her second album 'Jesus Egg That Wept', as it was recorded around the time of its release, but had been added to her 'Inky Bloaters' album. A song about insomnia; tinkling electronics coat the adventurous arrangement which carries more Middle Eastern sounds. The swampy tribal stomp is from Hammerheads, an earlier track lifted from 'Jesus Egg That Wept', and is industrial music at its best; it was this song that she performed on Channel 4's 'The Tube' back in 1984.

'Pariah' is simply outstanding and one of her very, very best recordings. Another recording from 'Jesus Egg That Wept', 'Pariah' opens with a tidal wave of electric keyboards and captures a compelling vocal performance, which sways from high and soprano-like to a low, almost menacing sound. Depicting a disturbing tale of female immigrants used as prostitutes and slaves; lots of flutes and electronic sounds swirl around Dax's sombre vocal (well, given the subject matter, you could hardly expect it to be anything else). Dax truly gets to show what an incredible vocal range she has and here it's at its most mesmerising.

Winding things down are 'Where The Flies Are', which captures a startling and compelling fusion of Indian sounds mixed with a pop flavour, and the dark 'Funtime' is rich in percussion and sounds like its set in a desert - a song that wouldn't have sounded out of place on the Quentin Tarintino flick 'From Dusk Till Dawn'. Bold, atmospheric and inventive, this is makes a perfect ending to this well-rounded compilation.

Danielle Dax - Timber Tongue 12''EP

Timber Tongue (1995) is a four-track experimental EP by avant-garde artist Danielle Dax, marking her final major musical release before entering a 27-year hiatus. Issued on her own Biter of Thorpe label as a clear 12" vinyl, the record eschews her late-80s alternative pop sound to return to uncompromising, self-produced industrial terrain. Collaborating with multi-instrumentalist David Knight, Dax weaves tribal rhythms, mechanized loops, and surreal found sounds—like toys and chanter pipes—into hypnotic, dark electronic soundscapes. Visually complete with her own "Urban Pantheist" cover art, the EP remains a highly collectable, rhythmically dense artifact that brilliantly showcases Dax’s enduring radical creativity.

Danielle Dax - Tomorrow Never Knows 12''

The 1990 US 12-inch 5-track single for Danielle Dax's alternative cover of The Beatles' "Tomorrow Never Knows" (Sire/Warner Bros.) is a premier artifact of her major-label era that bridges psychedelic rock history with late-era Madchester dancefloor culture. This specific promotional release expands heavily on the standard European versions by compiling four distinct variations of the title track—the Single Version, Album Version, KSDS Mix, and Lunar Mix—delivering everything from radio-friendly synth-pop to deep, trippy club loops. The package is rounded out on the B-side by "King Crack", a short, avant-garde art-pop cut from her Blast the Human Flower album, making this gold-stamped maxi-single a highly sought-after time capsule for alternative DJs and synth-pop vinyl collectors alike.

Danielle Dax - Jesus Egg That Wept

Jesus Egg That Wept is the second solo studio album by English avant-garde musician Danielle Dax, released in 1984 on Awesome Records. Taking its bizarre title from a sensational supermarket tabloid headline, the seven-track mini-album positions Dax as an uncompromising DIY auteur who wrote, arranged, and produced the entire project. Demonstrating her immense talent as a multi-instrumentalist, she played nearly all the instrumentation herself—including keyboards, guitars, saxophones, and programmed TR-808 drum machines—to craft a subversive sonic landscape that seamlessly bridges the gaps between post-punk, darkwave, industrial, and avant-pop.

Sonically and visually, the album represents a milestone in 1980s British underground counter-culture, featuring striking, painterly cover art by multimedia artist Holly Warburton. The tracklist explores dark, theatrical, and sociopolitical themes, ranging from the anti-racist industrial-blues loop of "Evil-Honky Stomp" to the hypnotic Middle Eastern textures of "Fortune Cheats." Through shifting vocal dynamics that effortlessly leap from operatic heights to menacing spoken-word delivery, Dax treats her voice as an unpredictable experimental instrument. The result is a haunting, highly influential artifact of independent music that remains a definitive example of boundary-pushing art rock.

The Barracudas - Drop Out With The Barracudas

The Barracudas' debut album, Drop Out with the Barracudas, is two records in one. On their first singles, the band presented as a kind of fun-loving surf rock group, singing about Woodys and California-flavoured good times. Their first recording session for the album took place during a hot London summer, and the songs reflected that. The second session took place later in the year when the weather was colder and the mood was less cheery. The initial trip yielded lighthearted fare like "Campus Tramp" and "On the Strip" (as in Sunset Strip), retro songs ("California Lament" and "[I Wish It Could Be] 1965 Again"), and even a goofy novelty ("His Last Summer"). The band hit their marks perfectly, crafting loving homages to surf and garage powered by Robin Wills' peppy guitar and Jeremy Gluck's enthusiastic vocals. 
Interestingly, the group stuck all these songs on the flip side of the LP, preferring to lead off with the darker, more intense material from their second studio visit. Here, they were more influenced by folk-rock and protest songs, landing closer to the Electric Prunes than Jan & Dean. They sound even better on these tracks, even as subject matter is dead serious and the sunny jangle is usurped by jagged leads, slicing chords, and an almost punky level of intent. Songs like the Flamin' Groovies-influenced "I Can't Pretend" and "We're Living in Violent Times" are almost direct contradictions of their early work, "Codeine" is about the gloomiest song of the '60s to cover, "I Saw My Death in a Dream Last Night" cuts close to the bone thanks to Gluck's pleading vocals, and "Somewhere Outside" gives the Jam a run for their money as far as uplifting mod anthems go. Which side of the record sounds more appealing depends on the mood one is in when getting ready to listen. Feeling kinda blue and depressed about the state of the world, try side one. Want to escape with some good-time oldies, then side two is perfect. Most bands would struggle to be convincing in either format, but the Barracudas managed both with ease and came up with one of the best garage rock revival albums, defining the genre almost before it even got up and running.