The title Horse Rotorvator is explained in the liner notes as a device large enough to "plough up the waiting world," created from the bones of the horses of the Four Horsemen of the Apocalypse. The Bay City Rollers this isn't. On the group's second full album, Coil continue the refinement of brute noise and creepily serene arrangements into a truly modern psychedelia, from tribal drumming and death march guitars to disturbing samples and marching band samples and back. Balance shares the same haggard, mystic vocal delivery common to fellow explorers of the edge like David Tibet and Edward Ka-Spel, but he has his own blasted and burnt touch to it all. His lyrical subjects range from emotional extremism of many kinds to blunt, often homoerotic imagery (matched at points in the artwork and packaging) and meditations on death…

The album "Liaisons Dangereuses: Cult Radio Classics - The Early Years" is a 2-CD compilation that commemorates the influential Liaisons Dangereuses radio show, which aired on the Antwerp radio station SIS in the 1980s. This show was a pioneer in promoting the New Beat movement, a genre that became highly popular in Europe, especially in Belgium. The compilation features tracks that capture the innovative and avant-garde music style that defined the show.

Tilt was Scott Walker's first album following over a decade of silence, and whatever else he may have done during his exile, brightening his musical horizon was not on the agenda. Indescribably barren and unutterably bleak, Tilt is the wind that buffets the gothic cathedrals of everyone's favorite nightmares. The opening "Farmer in the City" sets the pace, a cinematic sweep that somehow maintains a melody beneath the unrelenting melodrama of Walker's most grotesque vocal ever. Seemingly undecided whether he's recording an opera or simply haunting one, Walker doesn't so much perform as project his lyrics, hurling them into the alternating maelstroms and moods that careen behind him. The effect is unsettling, to put it mildly. At the time of its release, reviews were undecided whether to praise or pillory Walker for making an album so utterly divorced from even the outer limits of rock reality, an indecision only compounded by its occasional (and bloody-mindedly deceptive) lurches towards modern sensibilities. "The Cockfighter" is underpinned by an intensity that is almost industrial in its range and raucousness, while "Bouncer See Bouncer" would have quite a catchy chorus if anybody else had gotten their hands on it. Here, however, it is highlighted by an Eno-esque esotericism and the chatter of tiny locusts.

Bill Leeb is the Vancouver-based musician and mastermind behind electro-industrial scene mainstays Front Line Assembly and ambient-pop duo Delerium, as well as a key member of other occasional recording projects that include Noise Unit, Intermix and Cyberaktif. 'Model Kollapse' marks Leeb's first solo venture since the mid-80s days of Front Line Assembly, when he began making recordings in his bedroom and released them on limited edition cassette format. Almost four decades on, his new album was recorded and produced in Vancouver, Toronto and Los Angeles with assistance provided by production duo Dream Bullet and long-term FLA/Delerium cohort Rhys Fulber, plus regular mixing engineer Greg Reely. Hard-edged yet melodic, danceable and very much song rather than soundscape-driven, the album carries traces of hard-edged electronic dance music pioneers such as DAF, Front 242 and Skinny Puppy (of whom Leeb was an original member), as well as his own oeuvre. However, it also displays the influence that acts like these had on latter day artists such as Gesaffelstein and ADULT., plus much of what has in recent years become known as darkwave.

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators. Collection includes: (Who's Afraid Of?) The Art Of Noise! (1984); In Visible Silence (1986); In No Sense? Nonsense! (1987); Below The Waste (1989); The Ambient Collection (1990); The FON Mixes (1991); The Seduction Of Claude Debussy (1999).

In his notes for this passionately compiled box, producer Gary Stewart writes, "the diversity from the late-70s punk/new wave scene turned into a full-blown, variety-fueled, genre-busting orgy in the '80s…The music became, in the best sense of the words, more complex, more literate, a bit more serious, and as a result, made astrong impact on mainsteam rock culture." From funk punk to revisionist roots rock to hard-core to smart-ass clever pop-and every musical nook and cranny in-between-Left of the Dial presents many of the '80s' most important tracks. Savor the far more influential flip side of the "Where's the Beef?" decade's musical output!

In a conscious shift of aesthetics, the very European Gods turned their eyes on America with the band's fourth album, producing its most 'rock' record to date, a consistently strong smash. Opening with "Our House," it all seems (powerful) business as usual - odd sonic loops, rhythm patterns suddenly exploding into mass drum/riff combinations. But the difference here lies with the lyrics - discounting earlier covers, Treichler for the first time sings in English here and throughout, a conscious audience targeting which he addressed in contemporaneous interviews. "Gasoline Man" turns out to be the big shift, revamping what sounds like an old ZZ Top riff into as classic an American rock song as any - blues lyrical structure, loving the road and the motor - yet with the Gods' unique sonic signature present, revamping and restitching the past into a cleaner, newer form that avoids sounding just like another bar band.

All the ghouls, ghosts and goblins of gothic rock past, present and future have gathered on this very special 2CD Halloween-themed compilation! Includes exclusive tracks not found anywhere else by Lebanon Hanover, Buzz Kull, R. Missing, Bauhaus's David J and others PLUS classic tracks by Ministry, Christian Death, The Damned, Corpus Delicti, The 69 Eyes, Powerman 5000, Skold and more!

Forty-two minutes of studio recordings dating from 1979 from the inventors of industrial music, Throbbing Gristle, this self-titled recording appeared in 1986 on Mute Records and exhibits what is arguably the group's most vital period. The dark, abrasive sound pales in comparison to their essential Second Annual Report and Twenty Jazz Funk Greats, but nonetheless, Throbbing Gristle remains an important chapter in their discography, worthy of the attention of hardcore industrial music fans.

This album purports to be an attempt at recursion by the creator of The X-Files, Chris Carter – songs inspired by the show that he hopes will provide further inspiration for the show (just as Nick Cave's "Red Right Hand" did for the "Ascension" episode.) Contributions here include Mark Snow, with the title music, the Foo Fighters with a grand rendition of Gary Numan's "Down in the Park" (Numan's songs would fit this show perfectly), Sheryl Crow, Frank Black, Filter (who abandon their roaring faux-NIN sound for moody acoustic guitars), Meat Puppets, Elvis Costello with Brian Eno and even Screamin' Jay Hawkins. While not perfect, the album makes a nice alternative compilation, one that has that blue-light glow of twisted mystery X-ficianados have come to enjoy.

Limited five CD set. London 1982. As the new romantic youthquake of 1981/1982 faded, and after what felt like a lifetime since punk's last gasp, a tiny nightclub opened it's doors in London's Soho. Drawing to it a new generation of misfits and miscreants with a penchant for polysexual hedonism, for dressing up and showing out, The Batcave became the dark heart of alternative club culture, just like The Roxy and The Blitz before it. With it's very strong tracklisting, Young Limbs Rise Again includes music from just about everybody that mattered - from The Cure to Joy Division, from The Sisters Of Mercy to Sparks. Accompanying the 5CDs is a stunning 80-page hardback book, with an introduction from Kris Needs, packed with flyers, record sleeves, over 100 photographs, many previously unseen, and the full story of the club as told by the people who were there. From Sydney to Mexico City to Paris to Brazil to Berlin - what came to be known as goth here in early-80s London, is arguably one of the UK's greatest cultural exports. The goth aesthetic forged in those tiny west end dives has gone on to inform generation after generation of bands from Nine Inch Nails to Yungblud as well as walking fashion runways for Burberry, McQueen and Galiano and giving Hollywood a whole new dark palette to work with - from Tim Burton's weird cinematic adventures to TV shows as diverse as Buffy The Vampire Slayer and American Horror Story.

Long overdue reissue of Berlin-based experimental new wave/post-punk outfit Sprung Aus Den Wolken's vital self-titled debut, remastering it from the original tapes and bundling it with extra material from the same period. RIYL Malaria!, Einstürzende Neubauten, Suicide or Tuxedomoon.

Continuing his long-running and highly respected series for Ace, spanning year by year since the germination of his 1966 volume for both Ace and Faber Books, Jon Savage serves us up another of his spectacular insights into popular culture, this time for the years 1983 to 1985. Born out of the ashes of post-punk, there were plenty of experimental singles during the early part of this period: Siouxsie’s ‘Swimming Horses’, Shriekback’s ‘Lined Up’, Soft Cell’s ‘Heat’, Echo & The Bunnymen’s ‘Gods Will Be Gods’, and the Smiths’ ‘Girl Afraid’ – a perfect kitchen sink scenario. Pete Shelley and Scritti Politti went the electronic route to great effect, while the Special AKA delivered the perfect riposte to ‘Hard Times’ (all those ripped jeans) and having fun on the dole with the under-appreciated ‘Bright Lights’.

Saltatio Mortis have entered into a very special collaboration for their album to be released in 2024:

In The Red Records is proud to announce a previously unreleased new album by Brooklyn-born master of minimalism Alan Vega, Insurrection. The eleven songs here showcase the unparalleled vision and uncompromising force from one of the most influential artists of all time.