Review: "Bauhaus are the founding fathers of goth rock, creating a minimalistic, overbearingly gloomy style of post-punk rock driven by jagged guitar chords and cold, distant synthesizers. Throughout their brief career, the band explored all the variations on their bleak musical ideas, adding elements of glam rock, experimental electronic rock, funk, and heavy metal.
It's an excellent single-disc overview of the group's brief career, containing all of their essential songs, from ''In the Flat Field'' and ''Bela Lugosi's Dead'' to ''Ziggy Stardust'' and ''Burning from the Inside.'' It's nice that there's finally a thorough single-disc retrospective of the groundbreaking goth quartet.
Stephen Thomas Erlewine - All Music
And finally the 1998 compilation makes it onto vinyl. The tracks have been re-sequenced for the format and there's a special substitution of an unreleased hybrid mix of ''Bela Lugosi's Dead'' featuring a 1982 studio vocal over a live backing track. The two disc set is packaged in a gatefold sleeve and, with under 20 minutes playing time per side, the cut is loud with minimum compression.
Side 1
Double Dare
In The Flat Field
The Sanity Assassin
The Passion Of Lovers
Side 2
She's in Parties
Kick In The Eye
Ziggy Stardust
Dark Entries
Hollow Hills
Side 3
Mask
Silent Hedges
Bela Lugosi's Dead (Tomb Raider)
Side 4
Terror Couple Kill Colonel
Spirit
Burning From The Inside
Crowds"
Review: In an alternate digital universe of 1986, The Bolshoi's album would have likely found itself nestled in online recommendation sections akin to "If you like The Cure, you'll love The Bolshoi." This hypothetical scenario belies the band's classification as peripheral goth, a tag more for convenience than accuracy, according to a listener reflecting on youthful musical explorations. Their discovery of the album was likely facilitated by late-night KROQ broadcasts or perhaps a peer's persuasive recommendation at Tower Records. The listener was drawn to its amalgamation of 80s post-punk attitude, British keyboards, and a dark allure that complemented its underlying pop sensibilities. Not a frenetic production, the album instead inhabited the midtempo realms shared by The Jesus and Mary Chain and Love and Rockets, adding a distinctive gothic edge epitomized by tracks like the anti-establishment 'Sunday Morning.' While never quite aligned with icons like The Sisters of Mercy or Joy Division, the listener's eclectic collection of Psychedelic Furs, Gene Loves Jezebel, and Flesh for Lulu albums mirrored their penchant for divergent musical paths. In hindsight, albums like The Bolshoi's serve as foundational stepping stones beyond mainstream sounds, offering a gateway to deeper musical exploration and shaping enduring musical preferences.
Review: Known for their raw, guitar-driven sound, Bill Janovitz, Chris Colbourn, and Tom Maginnis have evolved over the years into a more melodic yet still powerful trio, releasing ten studio albums, with Jump Rope arriving earlier this year. In 1993, the band dropped Big Red Letter Day, a record that refined their signature sound with a fuller, glossier production thanks to The Robb Brothers in LA. The album features standout tracks like 'Sodajerk', 'I'm Allowed', 'Treehouse', and the timeless 'Late At Night', solidifying their status as one of the most enduring acts from that era.
Review: Formed in 1984 at the University of Massachusetts, Buffalo Tomicomprising Bill Janovitz, Chris Colbourn and Tom Maginnisirose alongside influential post-punk guitar bands like Dinosaur Jr. and Pixies. With a raw, propulsive early sound that gradually mellowed into melodic rock, the trio has enjoyed a long-standing creative synergy, celebrating their longevity through ten studio albums. Their latest, Jump Rope, released earlier this year, continues to showcase their evolved style. Their third album, Let Me Come Over from 1992, was pivotal, blending the energy of their live performances with introspective acoustic ballads. It features 'Taillights Fade,' a track that has become synonymous with the band, epitomising their blend of melodic depth and robust rock appeal, capturing the essence of their enduring influence in the indie rock landscape.
I Never Want An Easy Life If Me & He Were Ever To Get There
Can't Get Out Of Bed
Feel Flows
Autograph
Jesus Hairdo
Up To Our Hips
Patrol
Another Rider Up In Flames
Inside-looking Out
Subterranean
Full Of Culture
Out
Up To Our Hips (live)
Stir It Up (alternate instrumental mix)
Withdrawn
Feel Flows (alternate mix)
You & Everybody
Don't Let It Stand AKA Can't Get Out Of Bed
Another Rider Up In Flames (live)
Review: On its original release in 1994, Up To Our Hips marked something of a sonic departure for the Charlatans. Heavily influenced by Mod and psychedelic music of the 1960s, it saw Tim Burgess and company push organs to the fore, more densely layer their guitars, and develop a nostalgic "Britpop" sound fully in keeping with the nostalgic 'Cool Britannia' vibes of the era. 30 years on, it remains one of their strongest and most entertaining 'classic' albums - as this fully remastered and expanded reissue proves. This time round, the original album is backed by 10 additional cuts - a mixture of rarities, B-sides, demos and live recordings. It should be seen as the definitive version of one of the band's standout moments.
I Never Want An Easy Life If Me & He Were Ever To Get There (4:10)
Can't Get Out Of Bed (3:11)
Feel Flows (6:18)
Autograph (4:27)
Jesus Hairdo (3:13)
Up To Our Hips (4:32)
Patrol (5:54)
Another Rider Up In Flames (3:21)
Inside-looking Out (5:05)
Subterranean (3:59)
Full Of Culture (5:01)
Out (1:56)
Up To Our Hips (live) (4:19)
Stir It Up (alternate instrumental mix) (9:22)
Withdrawn (4:03)
Feel Flows (alternate mix) (8:53)
You & Everybody (4:11)
Don't Let It Stand AKA Can't Get Out Of Bed (3:09)
Another Rider Up In Flames (live) (3:09)
Review: To celebrate the 30th anniversary of The Charlatans' pivotal album Up To Our Hips, Beggars set to release an expanded edition on vinyl. This reissue retains the full original tracklist while adding ten bonus tracks, all curated by frontman Tim Burgess. The collection will feature live session recordings from the BBC, B-sides, alternate mixes, and unreleased outtakes, offering fans a unique glimpse into the band's creative process during a tumultuous period. Originally launched in 1994, Up To Our Hips marked a significant shift in the band's sound, veering away from the upbeat pop of their earlier works towards a darker, organ-driven aesthetic. Inspired by influences such as the Small Faces and Bob Dylan, the album's lyrics reflect the pressures the band faced internally. With its signature blend of driving Hammond organs, soulful rhythms, and Burgess' evocative vocals, The Charlatans have solidified their status as a lasting force in British music. This anniversary edition, complete with new artwork by Nik Void and pressed on '[etrol blue" bio vinyl.
The Only One I Know (live At Chicago Metro 1991) (3:48)
Then (live At Chicago Metro 1991) (4:14)
Happen To Die (live At Chicago Metro 1991) (5:17)
White Shirt (live At Chicago Metro 1991) (3:39)
Indian Rope (live At Chicago Metro 1991) (6:18)
Opportunity (live At Chicago Metro 1991) (7:22)
Sproston Green (live At Chicago Metro 1991) (7:58)
Review: Between 10th and 11th, the second album by The Charlatans, was s certified classic at the time and has fared well over the years. Beggars Arkive's newly expanded reissue contains the original full length plus remastered tracks from the frequently bootlegged live show the band played in Chicago in 1991. It is a real Holy Grail amongst fans and next to the original record, which landed in 1992 with huge and standout singles like UK Top 20 hit "Weirdos" plus other singles "Tremolo Song" and "I Don't Want To See The Sights", it is a vital purchase for fans old and new.
Review: It's 1987 and you've just hit play on Electric. The third album from English rock greats The Cult. It followed their breakthrough record, Love, in order but not style, marking a sharp artistic shift from the gothic tones they first garnered attention with, and then blew up through, and onto more of a straight up bar room hard rock that positioned them closer to the likes of AC/DC than The Cure. That's no criticism of course - both those points of reference are amazing in their individual ways. And Electric certainly landed on the right side of its sound, peaking at 27 in the UK album charts and getting critics commenting on the swagger and irreverence at the heart of the tracks. Guitars played as they should be, for want of a better turn of phrase.
Review: Originally released in 1984, following the band's evolution from the Southern Death Cult, to Death Cult, and then simply The Cult, Dreamtime finds the outfit featuring Ian Astbury and Billy Duffy, pivoting from their goth and punk roots into something eclectic, aspirational, and adventurous. Rife with lyrical references to the indigenous cultures of the Americas and Australia, and set against a more bombastic and muscular musical backdrop, Dreamtime hints at what would envelop the band over the next four decades, a dedication to their wholly unique songwriting, both musically and thematically and the frenzy that was soon to come with the release of Love only a year later.
Review: The reissued record Paradise Now by Death Cult serves as a vital transmission from the era of shamanic post-punk gothic futurists. Curated by Ian Astbury and Billy Duffy to celebrate The Cult's 40th Anniversary, the releases shows the band's influential sound with tracks originally released under the Death Cult moniker. Available on crystal clear vinyl with a striking white and black splatter, the album looks as good as it sounds. Here you find the power of the band in their early stage that would help them becoming superstars in the world of rock music. Paradise Now offers both longtime fans and new listeners a captivating glimpse into Death Cult's enduring legacy in the realm of alternative music.
Review: Goth heroes Fields Of The Nephilim's second album The Nephilim was realised 35 years ago by Situation Two and Beggars Banquet in 1988. Recorded in a former courthouse in the Somerset countryside, it has not been re-pressed since then and now comes on special golden brown vinyl with, of course, their most celebrated track and the rather epic 'Moonchild' (which hit number 28 in the UK charts) included alongside three other new bonus cuts. Influential frontman Carl McCoy twisted metal and electronics in his work after he first formed the band in Stevenage, Hertfordshire. This album was their best work and still stands up today.
Review: Fields Of The Nephilim, a UK goth band formed in 1984, made waves with their second studio album The Nephilim. Originally released in 1988, this goth masterpiece and reissued here in form set was released, featuring four bonus tracks for fans to enjoy. Known for their blend of hard rock, goth and psychedelic elements, led by vocalist Carl McCoy's growling, harsh voice adding a heavy edge to the music alongside Tony Pettit on bass, Peter Yates and Paul Wright on guitars and "Nod" Alexander Wright on drums, they create a powerhouse of sound on tracks like 'Chord of Souls' and epic seven minute opener 'Endemoniada'. The album debuted at an impressive number 12 on the UK album charts, solidifying Fields Of The Nephilim's status as pioneers in the goth rock genre along side contemporaries like Sisters of Mercy and The Mission.
Review: Original Bauhaus front man Peter Murphy made some excellent solo albums between the mid 1980s and 1990s, a five of which were recently reissued on vinyl by Beggars Banquet. To finish off the campaign, they've decided to offer up this compilation of rare demo tracks, remixes and radio edits. There's plenty to enjoy across the set, with our highlights including the goth-goes-indie-dance goodness of 'Final Solution (Club Mix 2)', the mid-80s Bowie-esque 'I've Got a Miniature Camera', the ambient pop masterpiece that is 'Jemal (Version 2)' and spine-tingling acapella cut 'Cool Cool Breeze'.
Review: Pink Rhythm was John Rocca's mid-80s solo project and it came after his pioneering work with the band Freeez. The group released three singles between 1984 and 1985 including cult favourites like 'Melodies of Love' and 'India.' Rocca's music has been widely sampled by artists such as Jamie xx, Burial and Todd Terry which has cemented his status as a BritFunk pioneer. His tracks have also featured in TV, film, and high fashion and this album includes six classic Pink Rhythm tracks, four of which haven't been on vinyl since 1985 and beautifully blend vintage 80s drum machines, synths, and saxophones.
Review: The first Gary Numan and the Tubeway Army album was a rather punky affair. Numan fronted the outfit with Jess Lidyard on drums and Paul Gardiner on electric bass from 1977 onwards. A second album Rituals followed in 1097 and both records sold in their millions as well as being great early inspirations for electro and techno artists. Numan went on to work for years with the same musicians but did so only under his own name. This reissue from Beggars Banquet comes on marbled blue vinyl.
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