Cherry Red’s Shake the Foundations: Militant Funk and the Post-Punk Dancefloor 1978-1984 is a beginner’s guide to pre-millennial, UK cool.
The Jesus Lizard’s emotional yet meaningless 1991 album, Goat is full of head-spinning, swinging derangement that still leaves listeners reeling.
Dublin's the Murder Capital and Detroit's Protomartyr both delve into murky existential lyrical terrain as riotous riffs reverberate and drums pound militantly, infusing the atmosphere with ominous sonic shadows.
What we have on Goat Girl's On All Fours are some hazy but deeply unsettling observations, carried along effortlessly on a bed of delirious voices, sailing over music quieter, slicker, and tighter than that on their debut.
Following a decade-plus break from official studio albums, Cabaret Voltaire are back with a bevy of releases that shows the electro icon empowered, recharged, and as mired in dissonance and drum beats as ever.
How does someone go from anti-nuke activist to serious foreign policy maven, student protester to mid-life bourgeoisie, and feel the same way about the Clash, aka "The Only Band That Matters"?
Black Country, New Road show us what a "rock band" or "rock outfit" can achieve on For the First Time. For those bands labeled as experimental, we now have an expectation and a new benchmark.