A double CD tribute album contains tracks specially recorded by more than 30 contemporary acts from around the globe who have re-invented, re-interpreted and rebooted many of Talk Talk’s greatest moments precisely 30 years since ‘Talk Talk’ made its mark on the mainstream. Among the artists appearing on the CD are: Alan Wilder (Recoil), White Lies, King Creosote, Jason Lytle (Grandaddy), Zero 7, Linton Kwesi Johnson, Richard Reed Parry (Arcade Fire), Joan As Police Woman, Sean Carey (Bon Iver), Lights, Goldheart Assembly, Thomas White (Electric Soft Parade), Fyfe Dangerfield (Guillemots), Thomas Feiner, The Black Ships and Turin Brakes. Also contributing to the album are ex-Talk Talk collaborators Ian Curnow, David Rhodes, Gaynor Sadler and Martin Ditcham.

With guitarist/keyboardist Roland Wolf and Cramps/Gun Club veteran Kid Congo Powers on guitar added to the ranks, along with guest appearances from old member Hugo Race, the Seeds reached 1988 with their strongest album yet, the insanely powerful, gripping Tender Prey. Rather than simply redoing what they'd already done, Nick Cave and company took their striking musical fusions to deeper and higher levels all around, with fantastic consequences. The album boldly starts out with an undisputed Cave masterpiece – "The Mercy Seat," a chilling self-portrait of a prisoner about to be executed that compares the electric chair with the throne of God. Queasy strings from a Gini Ball-led trio and Mick Harvey's spectral piano snake through a rising roar of electric sound – a common musical approach from many earlier Seeds songs, but never so gut-wrenching as here. Cave's own performance is the perfect icing on the cake, commanding and powerful, excellently capturing the blend of crazed fear and righteousness in the lyrics.

Out of the ashes of Joy Division, the remaining members decided to carry on recording under the name of New Order. The band’s debut album Movement recorded between 24th April to the 4th May 1981 at Strawberry in Stockport and featuring all new material, produced by Martin Hannett was released in 11th November 1981 on Factory Records.
After the tragic loss of Ian Curtis, the three remaining members of the former band added keyboardist Gillian Gilbert and soldiered on. Despite a relatively assured debut single ("Ceremony," which didn't appear on the album), the first New Order album revealed a band understandably caught up in mourning for its former lead singer. (But of course, themes of loss and isolation were hardly novel for them)…

Originally released in 1983 as an EP, this is the soundtrack to the live video of Ultravox, from their 1983 tour (hence the subtitle, "The Soundtrack"). This is Ultravox at their live best, and thankfully the reissued CD is expanded, containing all of the songs from the video (but still not the entire concert). "Reap the Wild Wind" is brilliant live and comes screaming at the listener with an extreme amount of energy and emotion. The same can be said for "The Voice." Midge Ure gives his all throughout, but here he is the voice. "Vienna" sounds wonderful and is certainly a crowd-pleaser. Fans will enjoy this live collection.

Vienna is the fourth studio album by British new wave band Ultravox, first released on Chrysalis Records on 11 July 1980. The album was the first made by Ultravox with their best-known line-up, after Midge Ure had taken over as lead vocalist and guitarist following the departures of John Foxx and Robin Simon, and it was also the group's first release for Chrysalis. Vienna was produced by renowned German producer Conny Plank who had also produced Ultravox's previous album Systems of Romance, and mixed at Plank's studio near Cologne, Germany. The album had a slow start, but the release in January 1981 of the title track as the third single from the album heralded the band's commercial breakthrough worldwide and led to healthy sales throughout 1981. Vienna peaked at number 3 in the UK Albums Chart and reached the top ten in Australia, New Zealand and several European countries.

Pioneering post-punk band, the Gang of Four were formed in the bricolage punk rock fallout culture of late seventies Leeds - a place where art was a mirror and guitars were machine guns. Gang of Four tore up the template and made sense of the question marks thrown up by year zero. They redesigned rock in the punk aftermath, taking the incendiary energy of the form and crisscrossing it with funk, stripping away the baggage of rock excess and creating a new stripped-down music that was full of agit energy, heavy grooves, shrapnel guitars and politically charged lyrics matching the fervour of the times.

As the title suggests, Ultravox were in a gray mood as they launched into their seventh studio LP, their previous existential angst now pooling around personal anguish. The album's title track was a study in languorous melancholy, where the emotional pain lingered on and on. And why would it ever dissipate, when romance is forever doomed, as "When the Time Comes" exquisitely illustrated? Even "One Small Day," the most musically celebratory song on the set, battles depression but dismally loses the war. No wonder Ultravox were so keen to escape far into the past, with "Man of Two Worlds" taking them back to the gloriously romanticized days of the Celts. The modern world, in contrast, was filled with terrors, both emotional ("A Friend I Call Desire") and global. There was the omnipresent yellow peril to fear; but if "White China" warned of the dangers of creeping communism, the nation sworn to protect its citizens from a Stalinistic embrace proves just as nefarious on "Heart of the Country".

Reduced to a quartet for the most part, with Barry Adamson joining Nick Cave, Blixa Bargeld, Mick Harvey and Thomas Wydler on only a couple of tracks, the Bad Seeds turn from the interpretive triumph of Kicking Against the Pricks to another strong high, the mostly-original Your Funeral…My Trial. The one cover is a sharp, unsurprisingly dramatic version of Tim Rose's "Long Time Man." As for the rest of the album, Trial shows the Seeds working as, again, a remarkably accomplished and varied act, ever available and ready to explore a wide range of musics distilled into Cave's often dark, always passionate vision. Arguably Cave and company have by now so clearly established their overall style that Your Funeral…My Trial is much more a refinement of the past than anything else, but so good is their work that resistance is near impossible. If anything, the brooding power of the Seeds is more restrained than ever, suggesting destructive endings and overwhelming love without directly playing it.

Non-Stop Erotic Cabaret is the debut album by English synthpop duo Soft Cell, released in the United Kingdom on 27 November 1981 by Some Bizzare Records. The album's critical and commercial success was bolstered by the worldwide success of its single "Tainted Love", a cover version of a soul song by Gloria Jones, which topped charts worldwide and became the best-selling British single of 1981 in the United States. American magazine Out placed the album at number sixty-six on their list of The 100 Greatest, Gayest Albums (of All Time). It was also included in Robert Dimery's book 1001 Albums You Must Hear Before You Die. Remastered 1996 reissue with eight bonus tracks: 'Where Did Our Love Go?', 'Memorabilia', 'Facility Girls', 'Torch', 'Insecure Me', 'What?', 'Fun City' and '….So'. 18 tracks total from Marc Almond & Dave Ball, also featuring their top 10 cover of 'Tainted Love' and the hits 'Sex Dwarf' & 'Say Hello, Wave Goodbye'.

Nick Cave launched his solo career in style with From Her to Eternity, an accomplished album mixing the frenzy and power of his Birthday Party days with a dank, moody atmosphere that showed he was not interested in simply continuing what the older group had done. To be sure, Mick Harvey joined him from the Party days, as ever playing a variety of instruments, while one-time Party guest Blixa Bargeld now became a permanent Cave partner, splitting his time between the Bad Seeds and Einsturzende Neubaten ever since. The group took wing with a harrowing version of Leonard Cohen's "Avalanche," Cave's wracked, buried tones suiting the Canadian legend's words perfectly, and never looked back. From Her to Eternity is crammed with any number of doom-laden songs, with Cave the understandable center of attention, his commanding vocals turning the blues and rural music into theatrical exhibitionism unmatched since Jim Morrison stalked stages.

MAGNIFICENT BROADCAST FROM THE CURE’S FIRST EUROPEAN TOUR • Formed in Crawley, West Sussex, in 1978, from the ashes of their forerunner Easy Cure, by Robert Smith, Michael Dempsey and Lol Tolhurst, the Cure’s debut album, Three Imaginary Boys was issued in May 1979. It was this along with several early singles that placed the band in the post-punk movement which had sprung up in the United Kingdom that same year. An early demo-tape found its way to Polydor Records scout Chris Parry, who signed the Cure to his newly-formed Fiction label - distributed by Polydor - in September 1978. ‘Killing An Arab’ the Cure’s first single came out in December ’78. • 1979 found the band touring the UK frantically, and they put in the odd European festival date during the summer months too. On December 10th The Cure travelled across to continental Europe to play their first show there in Utrecht that night, followed by a gig in Eindhoven on the 11th. • The following evening, they took the stage at Amsterdam’s magnificent Melkweg venue for a concert that remains a firm favourite among fans. Recorded for live FM radio broadcast across the Netherlands, the show has nevertheless never been issued on CD previously. That all changes however with this new release which captures the entire set the band played that cold winter evening more than 40 years ago

British Folk-Rock Post-Punk duo, The Waeve, return with their latest guitar driven romp, City Lights. Graham Coxon (Blur) and Rose Elinor Dougall return with the follow-up to last year's acclaimed eponymous debut. Produced by James Ford (Fontaines DC, Arctic Monkeys), the record features both artists on vocal duties in addition to playing a host of instruments including saxophone, keyboards and drums. The WAEVE have established themselves as a songwriting partnership to watch and with City Lights they further push the boundaries of their collaborative creativity, using this album to chronicle the evolution of their relationship and forays into parenthood.

The Boomtown Rats were an Irish rock band that scored a series of British hits between 1977 and 1980, and were led by singer Bob Geldof, who organized the Ethiopian relief efforts Band Aid and Live Aid. Collection includes: A Tonic for the Troops (1978); The Fine Art Of Surfacing (1979); Mondo Bongo (1981); V Deep (1982).

My Nation Underground is the fourth solo album by Julian Cope. It produced three singles including "Charlotte Anne" (which reached number 35 in the UK charts in September 1988 and was also Cope's only song to reach any position on the US charts). The album's music is an extension of the more commercial side of Cope's songwriting, following on from the relative commercial and organisational success of its predecessor Saint Julian.

Journey through the music of a generation in one of the UK’s most vibrant and creative cities. Features classics, rarities, album tracks and TWELVE previously unreleased gems from The Human League, Pulp (and members thereof), Heaven 17, Thompson Twins, B.E.F., Artery, ABC, Clock DVA, Hula, The Danse Society, In The Nursery, Treebound Story and many more.