Cactus World News - No Shelter

Some of you lovely people may, or may not, remember when I posted Cactus World News debut album Urban Beaches (if you don’t already have it, get it, Now!). It is, and always will be, a stone cold classic album that seemed to fall through the usual cracks. Having sold a credible 250K copies, toured as special guests of The Cult on 1985’s Love Tour, continued air-play on college radio of the single The Bridge that their future was, rosy.  Unfortunately, not. With a three year wait for new material, CWN became the forgotten, lost, Irish jewel. By 1989 a second, more pop-oriented album was shelved by MCA after two singles failed to draw any further attention. CWN eventually called it a day in 1991. Finally, after being leaked on the internet, No Shelter was released in 2004 by Red Coral; the waiting had ended, but was it was worth the wait? No Shelter is a bit more polished, a bit more over produced and the rawness of the debut is at times, missing in action. But now, today, after almost 33 years it sounds fresh, bright and shiny shiny. Don’t get me wrong, it is no Urban Beaches, but it definitely deserves a shot across your boughs. Just for fun, play No Shelter‘s “Falling Sun” for that annoying collector who claims to own every rare U2 track.

Cactus World News - Town Like This 12''

Released in 1989 by MCA Records, the 12-inch vinyl single for "Town Like This" by Irish rock band Cactus World News features the title track on the A-side, backed by "Volcano" and a live version of "State Of Emergency" on the B-side. The track reflects the band's signature late-1980s alternative rock sound and was later included on the expanded re-release of their second album, No Shelter. Today, this specific Maxi-Single (catalog number MCAT 1364) is primarily sought after by collectors on secondary physical music marketplaces like Discogs and eBay.

Cactus World News - Worlds Apart 12''

Released in April 1986 by MCA Records, "Worlds Apart" 12" is a definitive new wave and indie rock maxi-single by the Irish band Cactus World News. Produced by Chris Kimsey (known for his work with The Rolling Stones) and mixed at Dublin's legendary Windmill Lane Studios, the title track showcases the band's signature atmospheric, guitar-driven sound that drew frequent comparisons to U2. The 12-inch vinyl release features an extended version of "Worlds Apart" on the A-side and the atmospheric track "Cashen Bay Strand" on the B-side, all wrapped in distinctive artwork designed by frequent U2 collaborator Steve Averill.

Cactus World News - Urban Beaches

Cactus World News wastes no time in making a first impression on its debut album Urban Beaches. The opening track "Worlds Apart" explodes from the speakers with screeching, reverberating guitars, tumbling drums, and fervent vocals. The anthemic chorus and breath-taking energy of "Worlds Apart" will remind listeners of U2's "I Will Follow" in its feel and execution. However, despite similarities to the music of fellow Irish band U2, Urban Beaches is a smart, hypnotically melodic album bristling with youthful exuberance and sparkling musicianship. The impassioned singing of Eoin McEvoy on "Worlds Apart," "In a Whirlpool," "The Promise," and "The Bridge" is contagious; after hearing him bellow "Worlds apart, worlds apart/Closer than I've ever been/To you" a few times, listeners will find themselves mouthing the words or perhaps singing it in the shower. Frank Kearns' driving, electrifying riffs magnify the urgency in McEvoy's voice; nearly every track has thrilling, dramatic guitar playing. Urban Beaches should've been a hit in the U.S.; instead, it became a buried treasure in the cut out bins.

Cactus World News - Years Later 12''

"Years Later" is a 1986 12-inch vinyl maxi-single by the Irish alternative rock band Cactus World News, released via MCA Records (Catalog Number: MCAT 1024) as the second major single from their debut album, Urban Beaches. Produced by Chris Kimsey, the record is highly valued by 1980s indie-rock collectors for its 7-minute-plus extended mix of the melodic title track on the A-side. The B-side expands the release with the studio track "Hurry Back" and a raw, energetic live recording of "Third One," captured at London’s historic Marquee Club on November 26, 1985.

Cactus World News - The Bridge 12''

The 1985 Mother Records 12" vinyl release (Cat: 12MUM2) marks the definitive debut EP of the Irish rock band Cactus World News, famously spearheaded and produced by U2's Bono after he witnessed their raw live performance. Released on U2’s independent boutique label, this highly collectible three-track pressing captures the band's early post-punk anthemic sound. The A-side features the original, Bono-produced version of "The Bridge", while the B-side showcases the companion tracks "The Other Extreme" and "Frontiers".

Cabaret Voltaire - #7885 (Electropunk To Technopop 1978 – 1985)

#7885 (Electropunk to Technopop 1978–1985) is a definitive compilation album by Sheffield electronic pioneers Cabaret Voltaire, released by Mute Records in 2014. The release chronologically charts the band’s groundbreaking evolution across two distinct eras, beginning with their early, confrontational years as a trio on the Rough Trade label. This first phase is characterised by raw "electropunk" experimentation, defined by Chris Watson's found-sound tape loops, abrasive guitar distortion, and frantic rhythms. Tracks like "Nag Nag Nag" and "Do the Mussolini (Headkick)" highlight this period, capturing a claustrophobic, lo-fi industrial sound that deeply influenced the post-punk movement.

Following Watson’s departure in 1981, the remaining duo of Richard H. Kirk and Stephen Mallinder signed with Virgin/Some Bizzare, shifting toward a polished, club-oriented sound. They largely abandoned live guitars, embraced cleaner digital synthesisers, and locked into heavy, funk-infused drum machine grooves. This "technopop" era spawned major dancefloor crossover hits like "Sensoria," "Crackdown," and "James Brown," which seamlessly blended avant-garde cut-up techniques with electronic dance music. Ultimately, the compilation serves as a comprehensive sonic map of how Cabaret Voltaire transitioned from underground industrial noise-makers into highly influential architects of modern house, techno, and alternative dance.

Cabaret Voltaire - Red Mecca

It isn't without reason that Red Mecca is often referred to as one of Cabaret Voltaire's most cohesive and brilliant records. There are tangible bumpers (the record is buttressed by squealing/wheezing interpretations of Henry Mancini's music for Orson Welles' Touch of Evil), so by that aspect there's a tangible centre. And taken as a whole, the record contains all the characteristics that have made the Sheffield group such an influential entity when it comes to electronic music of the untethered, experimental variety that isn't afraid to shake its tail a little. Unlike a fair portion of CV's studio output, Red Mecca features no failed experiments or anything that could be merely cast off as "interesting." It's a taught, dense, horrific slab lacking a lull. Dashes of Richard H. Kirk's synthesizer are welded to Chris Watson's tape effects for singed lashes of white noise, best heard on the lurching "Sly Doubt" and the jolting "Spread the Virus." Throughout, Mallinder's sinister jibber jabbering punctuates the high-pitched menace. What he's ranting about is rarely obvious, as the clarity of his voice is often obstructed by the tape effects, synth work, and other random whip-cracks (Watson's periodic surges of organ are another treat). Judging from his irritated tone, odds are the lyrics have little to do with bunnies jumping over dandelions or anything nearing pleasant -- it's that lack of definition that makes things all the more unsettling. Several tunes have a thick rhythmic drive. The instrumental "Landslide" is painfully short at two minutes, with a bopping machine beat and barely perceptible vocal samples that dart between the left and right channels. A grainy programmed rhythm and Kirk's sickly guitar manglings dominate the sleazy "Split Second Feeling." Sick, searing, engrossing. Along with 2X45 and The Living Legends, this is their best offering.

Cabaret Voltaire - Yashar 12''

In 1983, Cabaret Voltaire were already celebrating their 10th year in existence.  After the departure of Chris Watson 2 years prior in 1981, Stephen Mallinder and Richard H. Kirk were reduced to a duo that were becoming less industrial, and slowly getting their feet wet with dance music while remaining on the cutting edge of sound.

This curious transitional record came out in 1983, and it marked the first time that Cabaret Voltaire was seriously intended for the dance floor. In May of 1982, the last album release of the band for Rough Trade was the aptly named “2×45” double 12″/album. On it, the closest thing the band had at that point to a big beat colossus was the second track, “Yashar.” Funk was always a motivator for the Sheffield trio but you would not know it by the sound of 12″ singles such as the preceding year’s “Eddie’s Out.”

In May of 1983, Factory Records released the only “single” from “2×45,” in John Robie’s remixes of “Yashar.” Robie wisely started the mix off with the sinister “There’s 70 billion people of earth – where are they hiding” sample from The Outer Limits then quickly took the mix into novelty disco territory as the top heavy mix threatens to wobble completely off the rails.

While the single mixes were done within a year of the song’s release, they sound like a typical post-modern mix, perhaps made years after the original. The overall effect is not unlike the shock of hearing “Blue Monday ’88” for the first time. 

Cabaret Voltaire - Nag Nag Nag 7'' + Nag Nag Nag 12'' (French Import)

"Nag Nag Nag" is the seminal 1979 breakthrough single by the English electronic group Cabaret Voltaire, released via Rough Trade Records. The track is widely celebrated as a post-punk milestone that brilliantly fused the raw, abrasive attitude of punk rock with experimental industrial noise. Built around a driving, nervous drum-machine rhythm and layered with distorted synth static, the song features Stephen Mallinder's heavily processed, sneering vocals barking the title. Despite mixed reviews from mainstream critics upon arrival, its aggressive, "industrial anti-pop" energy resonated deeply with underground music fans, selling over 10,000 copies and establishing the Sheffield trio internationally.

The track also marked a major logistical turning point for the band, as it was the first time they stepped out of their home-grown Western Works studio to record in a professional London facility. Musically, the band conceived the song as a gritty, electronic homage to 1960s American garage-psych bands like The Seeds and Red Krayola. Decades later, its legacy remains incredibly potent. The song experienced a massive club resurgence in 2002 via Electroclash remixes by Tiga and Akufen, and it continues to be celebrated today as a foundational text of synth-punk, frequently standing alongside the work of legendary peers like Suicide and The Normal.

Various Artists - The Best Anthems... Ever!

The Best Anthems... Ever! is a highly popular compilation album series released in the UK by Virgin Records and EMI as part of their massive The Best... Album in the World... Ever! brand. The landmark original volume debuted in 1997 as a double-CD set, capturing the vibrant musical landscape of the late 1990s. It blended massive Britpop anthems, indie rock tracks, and electronic dance crossover hits, featuring iconic songs from artists like Blur, The Verve, Radiohead, and Fatboy Slim.

Following the immense commercial success of the initial release, the franchise expanded significantly into a multi-volume series. Subsequent editions branched out to target specific musical sub-genres, leading to specialized spin-offs such as The Best Club Anthems... Ever! and The Best Rock Anthems... Ever!. Today, these albums serve as definitive time capsules of 90s and early 2000s UK music culture, and physical copies remain highly sought after by collectors on marketplace platforms like Discogs and eBay.

Various Artists - The Rare Stuff

"The Rare Stuff?" is a notable, historic 1979 punk and new wave compilation album released in the UK by Harvest Records (a subsidiary of EMI). True to its name, the LP acted as a "sampler" showcasing hard-to-find tracks, early singles, and forgotten B-sides from emerging acts of the late-1970s underground scene. The album is structured symmetrically by offering multiple tracks from its primary artists; it famously features four songs each from Australian punk pioneers The Saints, pub-rock/punk group The Banned, and Coventry-based new wave band The Flys.

Musically, the compilation captures the high-energy, experimental pivot from raw punk rock into melodic power pop and post-punk. It features highly sought-after material, including Wire’s "Dot Dash" and "Options R" (which were left off their seminal debut Pink Flag) and The Flys' iconic classic "Love And A Molotov Cocktail". It also boasts Rich Kids' "Only Arsenic"—the rare 1978 B-side to the band formed by ex-Sex Pistols bassist Glen Matlock and future Ultravox frontman Midge Ure.

Various Artists - DIY - Come Out And Play - American Power Pop I (1975-78)

DIY: Come Out And Play - American Power Pop I (1975-78) is a seminal compilation album released by Rhino Records in 1993 as part of its influential nine-part D.I.Y. series. Curated by Gary Stewart and remastered by Bill Inglot, the 19-track collection chronicles the underground, hyper-melodic guitar rock blooming across the United States just as punk rock exploded. Heavily influenced by the British Invasion, these independent and cult artists relied on a strict "Do-It-Yourself" work ethic to tour and self-release singles, bypassing the mainstream music industry. The album is visually tied together with cover illustrations by acclaimed alternative comic book artist Daniel Clowes.

Musically, the compilation functions as an essential time capsule of energetic hooks, driving rhythms, and tragic cult heroes. While it features marquee names like Cheap Trick, its true value lies in preserving foundational regional singles, such as the original version of "Hanging on the Telephone" by The Nerves and the haunting "I Am the Cosmos" by Big Star co-founder Chris Bell. By gathering these hard-to-find tracks in one place, the release serves as both a definitive historical archive and a perfect introduction to the high-energy, jangly sound of American power pop's golden era.

Various Artists - Reading The Indie Album

Reading – The Indie Album is a 20-track compilation released in 1992 by PolyGram TV to celebrate the legacy of the UK’s legendary Reading Festival. The record serves as a definitive time capsule for the early-1990s alternative scene, capturing a pivotal moment when indie music crossed over into mainstream chart success. Available on vinyl, cassette, and CD, the album functions both as a souvenir for festival-goers and a premier introduction to the distinct guitar and indie-dance sounds dominating British radio at the time.

The tracklist features an elite lineup of influential alternative anthems and crossover hits from the era's definitive acts. Listeners can find mainstream staples like "Sit Down" by James, "There's No Other Way" by Blur, and "The Only One I Know" by The Charlatans, alongside tracks from Iggy Pop, New Order, and The Sugarcubes. Today, the compilation is highly sought after by collectors on secondary markets like Discogs, while modern listeners frequently recreate its nostalgia through dedicated streaming playlists.

Various Artists - 18 Grooves From The Wild Side

"18 Grooves From...The Wild Side Vol 1." is a notable music compilation album released in 1991 by the Dutch record label Arcade Benelux B.V. Designed to capture the changing landscape of commercial alternative music at the turn of the decade, the album focuses heavily on the UK's Madchester, indie dance, baggy, and early 90s electronic music scenes. To build the definitive tracklist, Arcade licensed songs in association with a massive collective of major record labels, including A&M, Mute, Phonogram, Polydor, Sony Music, and Warner Music. The resulting collection captures a highly specific era when traditional indie guitar bands began embracing danceable rhythms and club-friendly production.

The standard 18-track CD version serves as a stellar time capsule of late-80s and early-90s alternative anthems. It features generation-defining tracks like The Stone Roses' "Fools Gold," Depeche Mode's "Enjoy The Silence," and Primal Scream's "Loaded," alongside indie-pop staples like The La's "There She Goes" and The Charlatans' "The Only One I Know". While a shorter, condensed 14-track edition was also pressed for certain vinyl and European market formats, the full compilation remains highly sought after by collectors of nostalgia.

Various Artists - Shine 11 - Best of '97

Shine: Best of '97 (often referred to as Shine 11) is a definitive compilation album released by PolyGram TV in December 1997. The release capped off a highly successful run for the Shine series, which served as a premier chronicle of the 1990s British alternative and indie music landscape. By 1997, the Britpop phenomenon was reaching its commercial peak and evolving into darker, more experimental territory. Rather than issuing a standard sequential Shine 10 volume that autumn, the record label opted to skip the number and package the year's greatest alternative hits into this massive, two-disc landmark collection.

The double album functions as an audio time capsule, capturing a transitional era in UK guitar music. The 38-track compilation features iconic anthems from standard-bearers like Oasis ("Stand by Me"), Blur ("Beetlebum"), and Radiohead ("Paranoid Android"), alongside the dramatic resurgence of The Verve ("Lucky Man"). It also highlights the broader diversity of the 1997 charts by including electronic-tinged indie from The Prodigy, infectious pop-rock from The Cardigans, and rising alternative acts like Placebo and Feeder.