Brixton’s The Windmill is easily the most discussed music venue of the decade. Its 150-capacity room nurtured an eccentric art rock community, birthing now-renowned acts Black Country, New Road, Black Midi and the Last Dinner Party. It sparked a wave of jazzy, multi-instrumentalist musicians worldwide, from English Teacher (Leeds) to Geese (New York) to Hesse Kassel (Santiago, Chile).
HMLTD were among the first artists from the venue to gain attention, before the press had even decided the Windmill was South London’s supposed hub of eclecticism. While their contemporaries performed brooding music, donning drab, working-class garb for post-punk credibility, HMLTD stood out like a sore thumb with their multicoloured, aristocratic glam…
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Halloween and 
Television’s Marquee Moon reimagines guitar rock in such original, pioneering ways that critics and fans still struggle to describe its essence five decades after its original release. Made after the band cut its teeth for four years amid New York’s thriving arts scene, the 1977 album blends the inimitable interplay of guitarists Tom Verlaine and Richard Lloyd; spontaneous and precise approaches; and winding arrangements that draw as much from classical, jazz, and psychedelia as the punk ethos to which the album is often linked.
…features nine previously unreleased tracks and demos.
A lot of the music covered under the “post-punk revival” centers around the poppier set of bands from the early ’80s, the ones you can still hear on the radio today – your Cure, Joy Division and Gang of Four.
The last time that ominous waves of synth, the sharp clack and echo of gate reverbed drums and a pervading sense of unease like this dominated the airwaves, the 1980s had just dawned. Joy Division had come to its unfortunate end, but New Order was just getting going. The more playful, but still doomy, Depeche Mode offered up a dance beat under the sounds of annihilation. And Margeret Thatcher has just begun her project of cutting the floor out from under working people’s feet, launching a brutal austerity campaign that made life desolate for ordinary Brits.
This is an intriguingly hard-to-pin-down debut from London’s 
Whatever’s in the water in Ireland right now needs to be studied. 
…includes two unreleased tracks, era singles, and full-album demos.
Famously, in life Mark E. Smith never played by the rules, and the same seems to continue in his psychic afterlife. Put together by Smith confidants Ed Blaney and Simon “Ding” Archer, the album takes nine leftover vocal and lyrical pieces from the iconic frontman and reimagines them in new soundscapes — a process that somehow feels entirely in keeping with Smith, who may even have preferred this method, sidestepping the graft and grind of keeping a band together.
If you weren’t already aware that Have a Heart was the debut album from 
Rosetta Stone is a legendary gothic rock band that emerged in the late 1980s, capturing the dark and dynamic essence of the genre with their haunting melodies and powerful lyrics. Known for their innovative sound and striking performances, Rosetta Stone has left an indelible mark on the gothic music scene. Explore their collection for a glimpse into the atmospheric and intense world they have created, perfect for fans of moody and evocative rock.
When the speakers are throbbing and rattling, spitting a filthy squeal, threatening to split open-do you bolt out of the room or step closer? If you ever attend a Gilla Band show, you will know instantly which their fans prefer. Discomfort is the baseline goal for a band that weaponizes its instruments to such earsplitting magnitudes that they rarely resemble the tried tools of rock music: guitar, bass, drums. “The trick,” bassist Daniel Fox said in a recent interview with Pitchfork, “is to be louder than everyone else.” This is a wild but typical understatement from the humble Irish quartet, which also comprises vocalist Dara Kiely, guitarist Alan Duggan Borges, and drummer Adam Faulkner. Volume-blown out to extremes or dampened before a deafening blast…
One aspect of the obsessive fascination surrounding Joy Division is the scarcity of their music. Though they were technically active under different band names as early as 1976, the finalized lineup of the group played under the name Joy Division for less than three years, becoming one of the most influential and game-changing entities to ever shift the tides with just two studio albums. In this brief time, the band played somewhere in the neighborhood of 120 or so live shows, which have also played into their legacy. Innumerable bootleg recordings and a smattering of above-board releases have cobbled together as much footage as possible of the band’s extremely limited time on stages, hoping to uncover a better picture of what made them so important.
Protomartyr have never done things the easy way. From singer Joe Casey’s handmade album artwork to drummer Alex Leonard’s impish, kinetic inversions of classic post-punk rhythm, the Detroit band maintain a workman-like lack of compromise in everything they do. Cerebral, instinctive or otherwise, nothing in the Protomartyr canon is ill-considered or under-distilled. For many listeners, myself included, this sense of commitment and purpose made them instantly appealing on first exposure, yet it’d be easy to understand a certain reticence from others based on that same quality. This is austere, unflinching music, often as bleak to one person as it may be cathartic to another—and this has never been truer than on Protomartyr’s new album 
Ohio’s punk scene is well-known for many things: hyperactive egg punk, indignant hardcore, and every style of jangle pop you can think of, just to name a few. Trippy, motorik-heavy meditations, not so much. But as the saying goes, there are always exceptions that prove the rule.
The Homesick have never been a band particularly interested in standing still. This adventurous Dutch trio has spent its career twisting post-punk, krautrock, new wave and experimental pop into something restless, strange and frequently exhilarating. Curiosity is their compass, and convention has never been much of a concern.