Armed with trumpeters Ray Martinez and Hurricane Smith who add soaring flourishes and energetic blasts throughout, on Kilimanjaro the Teardrops explode in a torrent of creative, kicky and often downright fun songs that hotwire garage/psych inspirations into something more…

Andy McCluskey and Paul Humphreys make up Orchestral Manoeuvres in the Dark, who were responsible for some of the catchiest and brightest synth pop that the '80s had to offer. O.M.D.'s material was a step above other keyboard pop music of the time, thanks to the combination of intelligently crafted hooks and colorful rhythms that bounced and jittered with pristine charm. Their squeaky-clean brilliancy initiated by both their synthesizers and subdued yet attractive vocal styles gave them a more mature sound over bands like Duran Duran and A Flock of Seagulls, who were attracting a younger audience. The Best of O.M.D. is an excellent compilation of their polished music, starting out with less provocative material like the basic electronic wash of "Electricity" and the bare but ebullient fervor of "Enola Gay." As this set moves along, so does the craftiness of their work, which is evident on tighter sounding songs like "Tesla Girls" and "Locomotion," where the intricacy of their formula begins to take a more resounding shape. O.M.D.'s best work came from 1985's Crush album, which harbored the midnight airiness found in "So in Love" as well as the adolescent innocence that streamed its way through "Secret," which are two of the best tracks on this set.

It’s been almost four years since the release of the band’s sophomore album “Narin Yalnızlık”. Since then Turkish duo has established themselves as one of the most influential and successful genre-defining acts throughout the World. Already having scored numerous crowd-puller performances all around the world, She Past Away now graces the audience with a beautifully dark and driving new album “Disko Anksiyete”.

The edition of Sulk which was the most common to find while record shopping throughout the late '80s and '90s was originally the American issue. Heavy substitution and track reordering – a typical enough move on the part of American companies no matter what the act – resulted in a radically different record. For some strange reason, the European CD issue of the album relied on this American edition, something only finally rectified as part of an overall reissue program in 2000…

The definitive singles collection from UK underground post-punk heroes, The Tea Set! Includes all of the band's recordings originally released on 7" from 1978-1981 as well as two never heard before tracks "Walk Small" and the recently recorded "Pharaohs!" The Tea Set were the complete package with a highly energetic, theatrical live show that made them a popular attraction in London and earned them spots supporting The Clash, U2, and Iggy Pop as well as tours with The Stranglers and The Skids! A resurgence in popularity brought the band back together last year to not only record a new track ("Pharaohs") but also to put this package togerher and film a video for "Pharaohs!"! Album art by TS vocalist/frontman Nic Egan who has designed cover art for The Clash, The Ramones and Bow Wow Wow as well as directing videos for Duran Duran, INXS, Oasis, Sonic Youth and many more! All of these tracks are available here for the first time ever on CD and on 12" vinyl (only 200 copies made)!

First and Last and Always is the debut studio album by English rock band The Sisters of Mercy. It was released on 11 March 1985, through record labels Merciful Release and WEA.

Two albums into their major-label contract and the Replacements had yet to have a hit they racked up some respectable sales but they were still a cult college band, never coming close to the Top Ten success R.E.M. had with Document. This lack of hits certainly weighed heavily on the band's label, which exerted a slightly heavier pressure than the chorus of fans and critics lamenting the group's lack of success, but all of this pressure from supporters and suits led the band to place a big bet on Don't Tell a Soul, a highly lacquered dilution of the 'Mats that is as misguided a crossover attempt as can be imagined.

Unbeatable 13-track set of key singles from 1980 to 1990! Features "The Killing Moon", "Seven Seas", "The Cutter", "Bring On The Dancing Horses", "People Are Strange" and more.

Teenage Kicks chronicles one of pop music's most exciting periods–the glory days of punk and new wave. Comprising knockout classics from The Jam, Teenage Kicks, The Clash, Ramones, Velvet Underground, Stranglers, The Buzzcocks, Siouxie & Banshees, Squeeze, Iggy Pop, The Boomtown Rats, B-52's, The Cure, Ian Dury, Graham Parker, Elvis Costello and many more, every single tune is an instant sing-a-long classic, sure to stir up fond memories of when music was vibrant, outspoken, and always refreshing.

Glittering Prize 81/92 is a compilation album by Simple Minds, released in 1992. It spans the period from Sons and Fascination/Sister Feelings Call (the first album recorded by Simple Minds for Virgin Records) to Real Life. The album omits the earliest period of Simple Minds' recording career, which yielded three albums released on Arista (only reissues are on Virgin).

Moving to a major label was inevitable for the Replacements: they garnered too much acclaim and attention after Let It Be to stay on Twin/Tone, especially as the label faced the same distribution problems that plagued many indies in the mid-'80s plus, the 'Mats' crosstown rivals, Hüsker Dü, made the leap to the big leagues, paving the way for their own hop over to Sire. The Replacements may have left Twin/Tone behind but they weren't quite ready to leave Minneapolis in the dust, choosing to record in their hometown with Tommy Erdelyi aka Tommy Ramone who gives the 'Mats a big, roomy sound without quite giving them gloss; compared to Let It Be, Tim is polished, but compared to many American underground rock records of the mid-'80s (including those by the Ramones), it's loose and kinetic.

Battered and broken from the debacle of Don't Tell a Soul the album's failure to take off, followed by a disastrous tour supporting Tom Petty & the Heartbreakers the Replacements were on their last legs when it came time for 1990's All Shook Down, so worn down that the band ceased to exist for most intents and purposes. Paul Westerberg even began recording the album as a solo project with R.E.M. producer Scott Litt, gradually turning it into the final Replacements album. It may bear the band's name, but All Shook Down never quite shakes the feeling of a solo album; above all, it's a writers album, with the focus placed entirely on the songs.

All things considered, Tim was an easy transition to the majors for the Replacements, at least as far as the making of the album goes: things went wrong after the release, as the band botched big showcases like its Saturday Night Live spot, leading up to the dismissal of Bob Stinson at the conclusion of the Tim tour. The dust hadn't settled when the 'Mats headed down to Memphis to record Pleased to Meet Me with producer Jim Dickinson at Ardent Studios or to phrase it in Alex Chilton-speak, to record with Big Star's 3rd producer at the studio where all three Big Star albums were made.

Part of the Replacements' appeal always was that they didn't quite fit into any tidy category and nowhere was that truer than on their 1981 debut, Sorry Ma, Forgot to Take Out the Trash. Falling over themselves to fit into the Minneapolis hardcore scene, the 'Mats played fast and loose, which was part of the problem they were too loose, lacking the discipline to fit within hardcore, which even in '81 was adhering to the loud-fast rules that would later morph into straight-edge. Then again, that was a common problem in the Twin Cities, as Hüsker Dü also were too big and blustery to be a standard hardcore band, but where the Huskers traded in violence and fury at this early stage, the Replacements wallowed in cheap thrills.

Once Upon a Time: The Singles collects all ten of Siouxsie and the Banshees' A-sides spanning the years 1978-1981, with four songs otherwise unavailable on LP. It's a neat and accessible encapsulation of the group's early guitar-driven sound – a frosty, dissonant art punk that had a tremendous impact on the emerging goth rock scene. Unlike similarly forbidding work by such proto-goth contemporaries as Joy Division or the Cure, the early Banshees were tense and visceral; the darkness of the Once Upon a Time singles doesn't come from a sense of downcast gloom so much as it does from a jittery angst. Yet as challenging as the music is, it's also accessible enough for eight of these singles to have charted in the British Top 50. The melodies are angular and almost alien, yes, but oddly memorable once the listener has assimilated them. Starting shortly after the period covered by this collection, Siouxsie Sioux's icy detachment would be fused with an elegant romanticism and lusher, smoother arrangements. Which means that Once Upon a Time isn't the one, definitive Banshees compilation, but it is a cohesive and essential overview of the band's edgy, influential peak.