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.

The Bags - Survive 7'' And Legal Weapon - No Sorrow 12''EP

The Bags were one of the first generation of punk rock bands to emerge from Los Angeles in the late 70's formed by Alice Armendariz and Patricia Rainone. The first line-up includes Alice on vocals, Pat on bass, Janet Koontz and Geza X on guitars and Joe Nanini on drums; with this line up The Bags played their first show at The Masque on September 10, 1977. During this first period many drummers played in the band, like Nicky Beat, Don Bonebrake and Don Bolles.

With a new line up featuring Alice and Pat, Craig Lee and Rob Ritter on guitars, and Terry Graham on drums, The Bags released in 1979 their first and only record, the single "Survive" on Dangerhouse Records. A third track from the session "We Don't Need The English" was included on the "Yes L.A." compilation. After this, Pat left the band. In 1980 the group, minus Pat, was filmed by Penelope Spheeris for the punk rock documentary film, 'The Decline Of Western Civilization'. At the release of the film in 1981 the producers billed the group as Alice Bag Band to avoid any conflict with ex-member Pat. By then, however, the band had broken up. Alice went on to join Castration Squad.

Terry Graham and Rob Ritter joined The Gun Club; Ritter later change his name to Rob Graves and formed the seminal death rock band 45 Grave. Pat, later known as Patricia Morrison joined the band Legal Weapon.

Legal Weapon were a Southern California punk band, initially composed of singer Kat Arthur and guitarist Brian Hansen (both previously of the Silencers), bassist Patricia Morrison (formerly of Bags and later of the Gun Club, Fur Bible, The Sisters of Mercy and the Damned), drummer Charlie Vartanian and guitarist Mike R. Livingston. Their debut 12”EP titled No Sorrow was the only release that Patricia played on before she left to join The Gun Club with Terry Graham and Rob Ritter. As you may have already sussed, this is a wee post dedicated to the legend that is Patricia Anne Rainone.

Various Artists - The Best… Album In The World… Ever!

Launched in 1993 by Virgin and Circa Records, "The Best… Album In The World… Ever!" became a monumental force in the UK music industry. While it initially debuted as a vehicle for electronic dance music, the compilation series truly found its identity by capturing the massive Britpop and alternative rock explosion of the mid-to-late 1990s. By bundling massive chart-toppers from iconic bands like Oasis, Blur, and Pulp onto accessible multi-disc sets, the franchise established itself as the definitive sonic mirror of the Cool Britannia era.

As the brand grew, it successfully diversified far beyond indie rock into a vast empire of genre-specific spin-offs. The franchise released dedicated volumes covering club anthems, air guitar rock, 1960s classics, and smooth soul, making it a staple in British household CD towers. Before the advent of digital streaming algorithms, these carefully sequenced physical albums served as the ultimate, affordable gateway for music fans to discover both mainstream hits and underground cross-over tracks, leaving behind a rich, nostalgic archive of a golden era in British pop culture.

Various Artists - DIY - Shake It Up! - American Power Pop II (1978-80)

DIY: Shake It Up! - American Power Pop II (1978-80) is a definitive compilation album released by Rhino Records on 16 February 1993. Curated by Gary Stewart and remastered by Bill Inglot and Ken Perry, it serves as the third volume in Rhino's acclaimed nine-part D.I.Y. series documenting the underground punk and power pop movements. This specific collection captures the vibrant, melodic energy of late-1970s American guitar rock, featuring legendary tracks from influential bands like The Romantics ("What I Like About You"), Shoes ("Tomorrow Night"), and 20/20 ("Yellow Pills"). Enhanced by distinctive cover illustrations from alternative comic artist Peter Bagge, the album is highly regarded by music historians as an essential archive of an era defined by catchy hooks, driving rhythms, and independent songwriting.

The album provides a comprehensive look at the regional scenes and independent singles that kept mid-tempo rock alive right before the rise of MTV. It bridges the gap between mainstream radio rock and the emerging college alternative scene, highlighting essential contributions from acts like The Rubinoos, Paul Collins' Beat, and Chris Stamey & The dB's. By collecting rare 45rpm singles and underground fan favorites, the compilation highlights a brief but passionate window in American music history where power pop briefly crossed over from local club circuits to national subcultural prominence.

Various Artists - Extend The 80s Electro

Extend The 80s Electro is a comprehensive three-CD compilation album released by BMG/Rhino in 2018 that celebrates the innovative synth-driven sounds of the 1980s. Spanning 30 tracks, the collection avoids standard radio edits in favour of rare, full-length 12-inch remixes, extended versions, and club mixes. It captures a pivotal era in music history when electronic production techniques, drum machines, and synthesizers began dominating the airwaves. The tracklist seamlessly bridges the gap between mainstream electronic pop and the underground club scene, showcasing how producers of the era expanded songs into immersive soundscapes for the dancefloor.

The compilation features an impressive roster of definitive 80s artists, including synth-pop royalty, new wave pioneers, and electro-funk innovators. Listeners can dive into legendary extended mixes such as Frankie Goes To Hollywood’s "Relax" (12" New York Mix), The Art of Noise's avant-garde "Beat Box (Diversion One)", and Propaganda's dark synth masterpiece "Dr. Mabuse (13th Life Mix)". Alongside these massive chart-toppers are cult club classics from artists like Japan, Thomas Dolby, Nena, and the West Street Mob. Serving as part of BMG’s wider Extend the 80s series, this specific volume remains a highly sought-after time capsule for audiophiles and DJs looking for the definitive, unedited sounds of the electronic decade.

Various Artists - Deathrock California 1980-1985

Originating from the music blog "Blogged and Quartered", Stormy shares a personally curated compilation titled "Deathrock California: The Darker Side of California Punk Rock: 1980-1985." Driven by a lifelong affinity for campy horror movies and dark imagery, the blogger created this collection to fill a historical gap, noting that mainstream labels frequently mismanaged deathrock compilations by including unrelated late-80s and 90s goth bands. Stormy’s tracklist focuses heavily on rare, underground, and female-fronted acts from the early 1980s Southern California scene that successfully blended heavy punk edge with a sinister, gothic atmosphere.

The overview breaks down 17 influential West Coast artists and explains why their specific tracks were chosen for the compilation. Featured bands include genre icons like Christian Death and 45 Grave, alongside highly overlooked or short-lived regional acts such as Red Scare, Burning Image, Conservatives, and Secret Hate. Each profile documents the band's historical footprint, highlight releases, and notable personnel—such as Rikk Agnew's ubiquitous influence across multiple projects like the Adolescents and D.I. By highlighting deep cuts alongside well-known tracks like D.I.'s movie-featured "Richard Hung Himself," the post serves as a comprehensive, archival tribute to the volatile intersection of hardcore punk and early gothic rock.

Various Artists - Dangerhouse [Vol 2] Give Me A Little Pain!

Dangerhouse Volume Two: Give Me A Little Pain! is a landmark compilation album released by Frontier Records in 1992 that archives the explosive birth of Southern California's punk rock movement. The collection compiles rare singles, B-sides, and tracks originally issued between 1977 and 1979 by Dangerhouse Records, a legendary, short-lived independent label founded by David Brown and Pat "Rand" Garrett. Unlike the uniform hardcore sound that later dominated the region, this compilation highlights the eclectic, artsy, and wildly experimental nature of LA's first-wave punk scene, making it an essential historical document for music historians and vinyl collectors alike.

The 14-track album features definitive anthems from some of the West Coast's most influential underground pioneers. Listeners are treated to the razor-sharp political punk of The Dils and The Avengers, the chaotic art-punk synth styling of Black Randy & The Metrosquad, and the ferocious energy of female-fronted acts like the Bags. It also includes foundational tracks from iconic bands like X and The Weirdos, alongside deep cuts from Rhino 39, Eyes, and The Alley Cats. Together, these tracks capture a brief, volatile window of musical history defined by raw aggression, absolute creative freedom, and dark humor.

Various Artists – Dangerhouse [Vol.1]

Dangerhouse was one of the first independent labels to document the burgeoning West Coast punk rock scene. Started in 1977 and collapsing by the end of 1980, it was a short-lived enterprise, which nonetheless left an indelible mark on the punk rock history. Established by David Brown and Pat "Rand" Garrett, who were both members of the punk rock band Black Randy and the Metrosquad, the company operated on a limited budget, supported by the more conventional typesetting and aerospace jobs of the founders. Black Randy himself got a day job in telemarketing and joined the effort as a business partner. Despite its scarce resources, Dangerhouse was notable for its production quality. They released records on many of California's finest first-wave punk bands, including X, The Eyes, The Bags, The Alley Cats, Avengers, the Weirdos, and the Dils. In its brief existence, Dangerhouse Records put out only 14 7-inch vinyl records, one LP, and one compilation 12-inch EP.

The Buggles - The Age Of Plastic

The fun, quirky single "Video Killed the Radio Star" garnered The Buggles international attention in 1980, but it was just one of The Age of Plastic's fascinating, futuristic visions. From the title track's opening strains, Trevor Horn and Geoff Downes transform your living room into a world of Jetson-like proportions. It's a world, though, where technology is seen for what it is -- full of both promise and frightening implications. On "I Love You Miss Robot," a metaphorical love affair with a robot explores modern man's relationship to, and dependence on, technology. "Kid Dynamo"'s spirited tempo, biting lyrics, and menacing vocal track questions the loss of imagination plaguing the mass media age. For the most part, The Age of Plastic is a fun record that doesn't need to be taken too seriously, though a subtle sense of loss is woven throughout. Variety is the constant and tracks vary from the giddy "Video," to the dark and pulsating "Johnny on the Monorail.." The vision here is so beautifully articulated that the superb musicianship and production wizardry is easily overlooked. Paradoxically, Horn and Downes employed electronic devices (which were considered new and cutting edge in the late seventies) to create an album which, at times, spoke eloquently about their drawbacks. With The Age of Plastic, Horn and Downes stamped an indelible image in the collective pop psyche. What is equally impressive is the sound of this disc given its analogue origins and 1980-release date. While hiss can be heard in some of the quieter passages, it would be difficult to find a record from this era that sounds half as good. Pop rarely reaches these heights.

The Almighty - Blood, Fire & Love

Ricky Warwick's enlisted time with New Model Army was brief, as the aggressive guitarist had his own band to command. General Warwick wasted no time assembling The Almighty after busting free from NMA. Enlisting bassist Floyd London, drummer Stumpy Moore and axe slinger Tantrum, the joined forces began their assault in January of 1988. Warwick's plan of action called for unrelenting practice sessions at his father's old barn in Glasgow, Scotland, as the group pounded out hard edged rock with a punk vibe. Signed to Polygram a year following their formation, The Almighty entered Abbey Road Studios in London, in April of 1989, where the group laid down the tracks for their debut LP.
Blood, Fire & Love, still sounds as fresh and mean as it did 33 years ago. The intro to opening track Resurrection Mutha still sends an unnerving chill up my spine. The very nasty Destroyed and the anthemic, Wild & Wonderful, maintain a massive abundance of character. Warwick’s dangerously engaging vocals continue to sound completely powerhouse, especially on the goth rock vibe of title track Blood, Fire & Love, which still sounds wonderfully relevant today. The great thing about The Almighty’s music back in the day was its simplicity, tracks like Gifthorse and You’ve Gone Wild, have an innocent and naive charm about them, but extremely lovable nonetheless. You can't go wrong with an album that adds a song entitled "Detroit". The amped-up ode to the mighty Motor City is a down 'n' dirty rocker, just as one would expect, but the main ingredient that dominates in their music has always been ferocity. Tracks like Power, Full Force Lovin Machine and the hell raising closer New Love Sensation, more than affirms that. The bruising Blood, Fire & Love is an album that earned the Lemmy seal of approval. That's good enough for me.

The Adverts - A Cast Of Thousands

Famously recorded with Mike Oldfield associate Tom Newman at the controls, the second Adverts album was never going to be just another punk album. Although the group's live performance remained as fiery as ever, T.V. Smith was opening their sound to all manner of influences, including augmenting the line-up with keyboards; Richard Strange handled synth on what would become the new album's title track, before Newman introduced another Oldfield sideman, Tim Cross. His flourishes and textures would come to dominate the record (he appears on all but two songs), adding to the alien environment that was the new, ambitiously arranged world of the Adverts. It was not an album that was to win the Adverts many friends, but it probably wasn't meant to. A flagrant departure from even the most extreme expectations, Cast of Thousands not only cast the band adrift from the new wave mainstream, but it would also alienate all but the most adaptable of the band's following. Live, the new songs had blended effortlessly into their surroundings; adapting so many of the characteristics of the older numbers that one could almost believe they were seeking defensive camouflage. Once in the studio, however, the Adverts dispensed with every last vestige of familiarity, treating each song as if it were a completely new piece, and not, as in the case of "Male Assault," the oldest song in sight, something which they'd dragged along to every gig they'd done for the past 18 months. And, overall, it worked, although the Adverts themselves would not stick around to reap its rewards. Barely was the album in the stores than the band broke up, leaving Cast of Thousands alone to be battered by the brickbats of misunderstanding critics; not until its Anagram Records CD reissue, a full 19 years later, was the album perceived as the heroic and, in places, precognitive effort that it was, a window opening into the extremes (and, occasionally, excesses) of the 1980s new wave, and doing so with such effectiveness that the bonus tracks, drawn from the band's period singles, sound absolutely old-fashioned by comparison.

The Adverts - Crossing The Red Sea

Crossing the Red Sea With….The Adverts was the summation of a year's worth of gigging, honing a repertoire that (jagged, jarring, and frequently underplayed though it was) nevertheless bristled with hits, both commercial and cultural. "No Time to Be 21," "One Chord Wonders," and "Bored Teenagers" were already established among the most potent rallying cries of the entire new wave, catch phrases for a generation that had no time for anthems; "Bombsite Boy," "Safety in Numbers," and "Great British Mistake" offered salvation to the movement's disaffected hordes; and the whole thing was cut with such numbingly widescreen energy that, even with the volume turned down, it still shakes the foundations.

The band's original vision saw a rerecording of "Gary Gilmore's Eyes," a Top 20 hit during summer 1977, included on the album, being dropped (for space considerations) at the last minute. It's one of the few punk songs that truly deserved to be called a classic. Although excluded from the initial release of the album, the mistake is corrected by this 2002 re-release of the album and it's included no less than three times. Talk about over compensating.

As well as the three version of 'Gary Gilmore's Eyes' this re-release throws in a pile of additional extras including live tracks and some songs that weren't included on the original album. Crossing The Red Sea With….The Adverts, with the addition of the mysteriously excluded 'Gary Gilmore's Eyes', stands up well on its own, the added extras merely seal the deal.

It's time to put away your dubstep albums and your witch house white labels and get an infusion of old school punk into your veins courtesy of the Adverts.

 

10,000 Maniacs - My Mother The War 12" and The Beloved - A Hundred Words 12"

A low-budget horror film from the 1960s, called 2,000 Maniacs is where 10,000 Maniacs took their name from. The original line-up featured Robert Buck (guitar), Dennis Drew (keyboards), Steven Gustafson (bass), Natalie Merchant (vocals) and John Lombardo (guitar). They emerged from the small town of Jamestown, NY, making areas like Buffalo and Rochester, NY and Cleveland, OH their strongest initial markets. At the beginning of 1983, Jerry Augustyniak joined the band as their permanent drummer. The Maniacs met Augustyniak when they played in Buffalo, New York, where he was in a punk band called The Stains. Between March and July, the band recorded songs for a second record, ‘’Secrets Of The I Ching’’ their debut full-length album, which was pressed by Mark Records for the band's own label Christian Burial Music. The record was well received by critics and caught the attention of respected BBC Radio 1 DJ John Peel in London. One song, ‘’My Mother The War’’ remixed and released on 12” in February 1984 turned out to be a minor hit in the United Kingdom and entered the independent singles chart. The song is probably about the Vietnam War as it talks about three year tours and how everyone was initially supportive but it ended in grief and dismay for millions.

It’s not too difficult to understand why The Beloved try hard (way too hard) to mimic their idols from Manchester. The group's role models aren't difficult to guess; after all, they spend much of the time using New Order's "Dreams Never End" as a blueprint. "A Hundred Words," gives it away: a sinister bassline and icy vocals propel a cold, mechanical beat. However, at least "A Hundred Words" has hooks; the band suffers from the same problem that plagues most imitators of New Order and their earlier incarnation, Joy Division; plenty of atmosphere but no memorable songs. The Joy Division guitar drone and Jon Marsh's depressed singing can't sustain interest for much longer than say, 3 minutes. It's was always easy to compare the Beloved to other artists because their influences are so obvious. Despite this "A Hundred Words" sports the kind of descending hook that made Johnny Marr a god in the mid-eighties. As Smith-y and Cure-y as this single is, it just radiates with indie-pop joy. Forget its debts and wallow in all its cardigan-inspired glory.