The Danse Society - Heaven Is Waiting [Expanded]

Heaven Is Waiting [Expanded Edition] is the definitive, 15-track compact disc remaster of the landmark second studio album by Barnsley gothic rock pioneers The Danse Society. Originally released in December 1983 and kept in circulation through archival reissues on Cherry Red Records' Anagram Goth imprint, this edition represents the band's major-label debut following their high-profile signing to Arista Records. The core album peaked at Number 39 on the UK Albums Chart, yielding international alternative club hits like its lush, driving title track and a brooding cover of the Rolling Stones' psychedelic classic "2000 Light Years From Home".

Recorded across legendary UK studio spaces including Britannia Row and Ridge Farm, this expanded curation carefully appends five essential bonus tracks—such as "Arabia", "Seen The Light", and "Endless"—partially sourced from the album's original, highly sought-after cassette edition. It stands as a vital, high-utility document of the early 1980s darkwave movement, illustrating the band's peak creative era of expansive synthesizer arrangements, cinematic production values, and theatrical post-punk songwriting. The physical CD release is packaged with extensive liner notes and rare archival imagery, making it an essential artifact for vinyl-era music historians and collectors tracking the evolution of British alternative music.

The Danse Society - Somewhere 12''

The Danse Society's "Somewhere" 12" vinyl is a pivotal post-punk single released in January 1983 on the band's independent Society Records imprint (Catalog: SOC124). Serving as their final independent release before signing to major label Arista, the single achieved monumental underground success, climbing to Number 2 on the UK Indie Chart. Originally recorded at Livingston Studios and produced alongside Richard Hartley (widely celebrated for his musical collaboration with Richard O'Brien on The Rocky Horror Picture Show), the 12" extended play features an expansive, atmospheric arrangement. Complete with a striking, minimalist black-and-white graphic picture sleeve and an original lyric insert, this record stands as a defining artifact of early 1980s British darkwave and synth-driven post-punk history.

The Danse Society - Seduction; The Society Collection

Seduction: The Society Collection is an expanded, career-spanning compilation album by Barnsley gothic rock group The Danse Society, originally reissued in 2001 and repressed in 2017 and 2024 via Cherry Red Records' Anagram Goth imprint (Catalog: CDMGOTH6). The 14-track collection serves as the definitive anthology of the band's independent era on their own Society Records label, seamlessly gathering the entirety of their September 1982 debut mini-album Seduction (Tracks 8–13) alongside eight rare, early independent singles. Peaking at Number 3 on the UK Indie Chart in its original mini-album format, this compilation brilliantly archives the band's sonic blueprint, preserving their trademark fusion of rhythmic post-punk bass lines and icy, atmospheric synthesizer arrangements before they transitioned to major-label Arista.

We’re So Happy

As I didn’t celebrate my 500th post with fanfare, streamers and balloons, I thought I would only mention it in passing on this, my 504th post. Anyway…moving on, The Danse Society were real contenders for Goths of the month January through December 1982. I have already commented that We’re So Happy isn’t one of my favourite tracks by them, but it’s worthy of completism with this, the 1983 reissue cashing in on their signing with Arista (cynical? Moi?). I should really be raving about the single and all of its little nuances, or dropping background on the band members, the previous incarnations or post “Artistic Differences” fallout. Nope.

Side 2 however is a different story. Woman’s Own has rectangular guitar (it is that sharp) and shouted single word vocals that remind me of all the brilliant bands on Postcard Records. Belief has some groove heavy Simon Gallup bass going on. Interesting that yet again a good band can push the envelope on the B side but prefer to keep too the formula for the lead track.