The sophomore release from Norwegian art-punk quartet Pom Poko is full of the same kind of sweet, distorted pleasures that made their first album so much fun.
Television’s 1977 masterpiece Marquee Moon is the 25th Greatest Album of All Time, but is it too “too too” to put a finger on? Counterbalance sees it all backward.
On 10:20, Wire retain the sound they've been cultivating for the last few albums and use it to reinvigorate and reinterpret tracks from their various periods.
Presented as part of the new Buzzcocks' box-set, Sell You Everything, Modern showed a band that wasn't interested in just repeating itself or playing to nostalgia.
David Thomas guides another version of Pere Ubu through a selection of material from their early years, dusting off the "hits" and throwing new light on some forgotten gems.
After listening to the Boomtown Rats' Citizens of Boomtown, you can't help but wonder if another vanity project is the kind of activism we need to combat the injustices of the world.
Parachute For Gordo's new LP, Best Understood By Children and Animals, diverges from the band's art-punk past. The result is an enthralling, throbbing, and incredibly percussion-driven document.
Berlin four-piece Hope join the dots between the unsettling art-punk of Suicide and the late-night, reflective electronica of Portishead on new single, "Shame".
Post-punk pioneers Wire continue their late period renaissance with a new synthesis of all of their most endearing qualities on Mind Hive.
Wave's status as Patti Smith's most unapologetically pop album reveals the most authentically "punk" gesture of her career: rejecting the idea that her genre capabilities begin and end with that four-letter word.