01. Joy Division – Transmission (Live The Factory Manchester 13th July 1979)
02. Buzzcocks – Hollow Inside
03. Blue Orchids – Dumb Magician
04. The Sound – Winning
05. Robyn Hitchcock – The Lizard
06. Echo & The Bunnymen – The Cutter
07. A Certain Ratio – Forced Laugh
08. Red Guitars – Good Technology
09. Josef K – Endless Soul
10. This Heat – Cenotaph
11. Scritti Politti – The ‘Sweetest Girl’
12. The Fall – Iceland
13. Crispy Ambulance – Bardo Plane
14. The Cleaners from Venus – Factory Boy
15. New Order – Ceremony
Category: post-punk
A record inspired by the desolate brutalism of their native Manchester, art pop/new wave trio, Yossari Baby’s new album, New Brutality is a radical statement of seriousness. This is an album that dissects Manchester’s anatomy in a very different way to the city’s musical back catalogue with murmurings of the anti-Manchesterism that they, and local label Alphaville, stand for. This Anti-Manchesterism isn’t a concept of scorn; Not in a degrading sense, but as a rally against the reckless nature of the soulless sprawl of buildings ruining the character of the city. Opening track ‘Super Cool’ is more akin to a radical composition than your ordinary futurist pop. This track has nods to DEVO and ‘Technique’ era New Order with hints of European house music and Warmduscher…
There is something pointed about calling your record It Is Clear What’s Going On in 2026 and then responding with lyrics that show no interest in meeting the listener halfway. Debt Rag are not being glib. Or rather, they are, and that’s precisely the point.
Glasnost, the late Soviet-era principle of saying the thing plainly because the pretence had become untenable, is a useful way in. When the word entered circulation, the world felt as though it was shifting beneath everyone’s feet while nobody could quite explain why. Debt Rag’s own statement is so steeped in deliberate irreverence that absurdism starts to resemble the only rigorous critical position left. Brainrot doesn’t register as a symptom here so much as a methodology.
Since Chapter Music’s inauspicious start as the musical spinoff of a Syd Barrett fanzine, the Australian label has had a knack for curating quirky, eclectic compilations. Their Can’t Stop It! series, initially released on CD during the ‘00s, is probably the most essential various artists project, tracing the roots of their label’s rugged, Antipodean sound back to the heyday of post-punk.
Cropping up concurrently with the abstract, splatter-y stylings of New York City’s mutant disco movement and England’s Factory Records, Melbourne’s Little Band Scene was carving out a new path for Australian art music. As its name suggests, the scene operated as a collective of loosely constructed bands that…
Really Good Time’s debut album Affirmations is a tale of squashed expectations and failed dreams. Sizzling with punk influences and genre-bending songwriting, Affirmations is the agenda of an angry generation, and an exquisite contribution to the exciting landscape that is the Irish music scene. The Dublin trio, made up of Wastefellow (vocals, guitar), Ado Tornado (drums), and Jacque le Coque (bass), have established themselves as one of the sharpest acts to come out of Ireland, offering a unique combination of powerful riffs, black humor, and explosive live performances that have landed the band on the same stage as Franz Ferdinand, The Murder Capital, and Gurriers.
With this first album, Really Good Time reflect on the communal nihilism and disillusion…
…box set includes alternative versions as well as an unreleased live show from Rennes, rough mixes and radio sessions from the era. Plus ‘Twenty-Seven Points’ (that was also released in 1995), an album that consists of live recordings made in various locations between 1991 and 1995, but also contains interludes and two previously unheard studio tracks.
Mark E. Smith once again landed on his feet after departing a label, ditching Matador in favor of Permanent, but Cerebral Caustic is notable for many other reasons. First, of all people, Brix Smith (still going by the name) rejoined the lineup, while future events made this the last studio album featuring Craig Scanlon. Though not an original member, his guitar playing for many…
The inclusion of a couple Force-era demos on 2019’s ACR:Box indicated that there could be more such recordings languishing in A Certain Ratio‘s vault. Force Majeure, released in tandem with The Joy of Sextet in 2026, confirms it and then some. Bearing a title that can taken as a declaration of its superiority to the band’s 1986 album, it certainly has an urgency and altogether richer/rawer sound, and while the aforementioned tracks were classified on the box as demos, “original versions,” the term applied here, seems more apt given that the material is fully developed. Moreover, the performances come across as serious rehearsals and further accentuate the crucial additions of keyboardist Andy Connell and saxophonist Tony Quigley. With those two…
After they released It All Comes Down to This, their third new LP of the 2020s, A Certain Ratio looked to the past by touting — and touring in support of — anniversaries related to two of their ’80s albums. Issued simultaneously with Force Majeure, which presented early versions of songs from the 40-year-old Force, The Joy of Sextet marked 45 years since the recording of Sextet. (Sextet was also intended for release in 1981, but did not materialize until early 1982.)
A different proposition from Force Majeure, The Joy of Sextet is the result of ACR handing the multitrack Sextet tapes to Andrew Meecham, aka the Emperor Machine, a veteran producer who had previously remixed ACR tunes and even played on 2023’s rather confusingly titled 1982.
During the first wave of post-punk, the bulk of its practitioners lived in nations with undeniably agit-worthy issues. But they weren’t faced with anything like the existential chaos that’s been a day-to-day reality for generations in Lebanon. In other words, Beirut bands like Scrambled Eggs have a right to roar, and then some.
Scrambled Eggs’ first recordings appeared in the early ‘00s, but the quartet wound up drinking deeply from the late 1970s/early ‘80s post-punk well of bands like Gang of Four, The Pop Group, et al. The explosive energy and sociopolitical unrest at the core of those 20th-century sounds is surely something four young men raised in Lebanon could take to heart in a whole different way from their fellow post-punk revivalists further…
…5CD box set anthology of B-Sides, rarities and archive material from Toyah’s recording history for the Safari label (1979-1983).
…Revelations provides an alternate history of the Toyah Wilcox-fronted new wavers by way of B-sides, outtakes, instrumentals, alternate versions, home demos and live tracks.
Record label Cherry Red say that “it has been designed to perfectly complement the album catalogue reissue programme”.
Remarkably, given how comprehensive the individual album reissues were, 50 of the 102 tracks on Revelations are previously unreleased. The box has been compiled by by Toyah archivist Craig Astley alongside Joel Bogen, co-founder, composer and guitarist with the band.
Formed in 2018, the Bristol quartet emerge some eight years later with their first full-length. The record succeeds three EPs released between 2021 to 2025, ranging from the fierce and raw, grungy and economical post-punk of their self-titled debut release to ‘Anything for You’, a five-track collection highlighting increasingly expansive production and instrumental depth.
Their previous EP hinted at the direction of their first LP proper and then some, as Baby You’re a Winner showcases a broader palette of influences, richer arrangements, textured production, and clever vocals which move between solo singing, harmonising, and group interplay. Bolstered by the addition of fourth member and lead guitarist Polly Jessett, Grandmas House also…
‘Normalization’ in Czechoslovakia in the 1970s and 1980s was paradoxical: rather than a return to normality, it in fact meant renewed state control over society, culture, and public life. It followed the Prague Spring of 1968, which had grown out of the political and cultural relaxation of the 1960s, where under Alexander Dubček, reforms aimed to create ‘socialism with a human face’ allowed greater freedom of expression and artistic experimentation. The Soviet Union considered these reforms too radical, however, and in August 1968 Warsaw Pact troops invaded Czechoslovakia, bringing the reform process to an end.
From 1969 onwards, the authorities restricted freedom of expression and cultural activity, and excluded politically undesirable figures…
There’s something so refreshing about Sweeping Promises. A Kansas-based two-piece, Lira Mondal and Caufield Schnug specialize in short, sharp slices of punk-inflected garage-pop. Their first two albums cut through the pandemic-induced uncertainty of early-2020s US underground music almost by sheer force of will, their hooks too insistent and their performances too committed to be ignored. On You Say I Romanticize, we pretty much get more of the same, with some minor developments; it reflects well on them that, for the most part, this is a very good thing.
Sweeping Promises’ lean, unapologetic style revives certain elements of the US post-punk tradition in a remarkably vivid and straightforward way. There’s so much gusto and verve in their…
Chicago’s Cel Ray specialize in a frantic, jackhammering form of post-punk, which they play at hardcore speeds. Cel Ray released their first two EPs Cellular Raymond and Piss Park in 2023, and they’ll follow those record with their full-length debut Cel Rayzer
Modern post-punk’s yappiest frontmen leverage comedy like it’s a pillar of the genre: sardonic vocals as an auditory plot device, parody as critique, roasts of their fellow man as feminist credentials. But when Cel Ray frontwoman Maddie Daviss resorts to comedy, it seems to come from an entirely natural place. Like fellow Chicago-reared women whose wit pours forth from diminutive frames, Daviss is loud and loose in a literal sense, with limbs that swing around onstage…
Over their nearly twenty year existence Ceremony has been hard to pin down. Ceremony’s turn away from blistering powerviolence into post-punk over time has become their calling card. By 2019’s In The Spirit World Now they had completely flipped the band’s paradigm over 6 albums. Synth took focus in the mixes and the band seemed fully passed punk.
Despite sonic shifts Ceremony retained their hardcore credibility. Live, Ceremony never abandoned their early material, the post-punk of “Turn Away The Bad Thing” nestles closely with the stomping juggernaut of “This Is My War”. Fan-favorite “Kersed,” is a live staple, much in the same way Napalm Death has to play “You Suffer”. Even as Ceremony continued…
Avon’s lesser-hailed, glam ‘80s synth-pop and new wave movement is spotlighted in-depth via 20 songs compiled by studio engineer Dave Massey, who smartly portrays the breadth and quality of an ‘80s blindspot.
The Bristol & Bath Blitz Club Meets Art School Sound – 80’s Explosion traces the reverberating influence of Rusty Egan and co.’s new wave crucible, The Blitz Club, along the M4 leyline, where it met Avon art school kids advancing from punk and funk into a new decade. Egan’s signature DJ brew – e.g. Kraftwerk to Visage, Burundi Black to Bowie, Japan and Grace Jones – would spark myriad emulators who were also mirroring the chops of Duran Duran (sons of the Brum club scene an hour north) and the likes of Martyn Ware…
