Fear & Anxiety stands as a landmark debut in the Japanese progressive rock movement, introducing the formidable all-female symphonic rock power trio Ars Nova to the global progressive music scene. Released in 1992 on the legendary Made In Japan Records imprint, this thirty-one-minute release showcases the band's signature brand of dark, bombastic, keyboard-driven instrumental symphonic prog. Led by keyboard virtuoso Keiko Kumagai, the trio weaves heavy ELP and Goblin-esque synthesizer textures, soaring Hammond organ, and church pipe organ passages with intricate bass lines and aggressive, hard-hitting drum patterns. Unfolding through six complex compositions—including the haunting opener Dark Clouds, the intense rhythmic drive of [dgiha:d], and the multi-part epic suite Fata Morgana—the album balances gothic atmosphere with virtuosic execution. Sourced from original high-fidelity digital transfers complete with EAC sector logging verification, track cue sheets, full retail artwork scans, and pristine audio precision, this release is an essential centerpiece for Japanese prog collectors, keyboard-driven symphonic rock purists, and obscure progressive rock archives.

Released in 2021 by Music On CD, Collected is a definitive 3-CD career retrospective spanning 35 years of music from English goth and alternative rock legends The Mission. Overseen and curated by frontman Wayne Hussey, the compilation brings together the band's complete A-side singles in their original single edits across CD1 and CD2, ranging from early classics like "Serpents Kiss" and "Tower Of Strength" to recent standouts like "Met-Amor-Phosis" and "Tyranny Of Secrets." CD3 features 10 rare 12" extended remixes, including the long-sought, first-time-on-CD extended version of "Stay With Me."

Released in 1995 by the iconic Italian bootleg label Kiss The Stone, Dressing Up For A Day Out documents a celebrated live performance by English alternative rock pioneers The Cure. Recorded live at the Glastonbury Festival on June 20th, 1995, the 17-track concert captures the band delivering a rich, career-spanning set under the direction of frontman Robert Smith. Highlights include definitive live renditions of fan favorites such as "Pictures Of You," "Lullaby," "Just Like Heaven," "Friday I'm In Love," and "Disintegration," along with early previews of tracks like "Jupiter Crash" and "Mint Car."

Released in 1996 by the renowned bootleg label Kiss The Stone, Queen Elisabeth Parade is a live compilation recording by iconic English alternative rock band The Cure. Tracks 1 to 12 showcase essential excerpts from the band's main set performance at the Queen Elisabeth Theatre in Vancouver on August 1st, 1996, during their Swing Tour in support of the Wild Mood Swings album. The release also includes three bonus tracks recorded live in London during their December 1995 appearance on MTV Most Wanted. Featuring the expressive vocals of Robert Smith, the album delivers powerful live renditions of classics like "Lullaby," "Just Like Heaven," "In Between Days," and "Disintegration."

Released in 1998, Climbing Up The Walls is a compelling bootleg/compilation from Radiohead featuring a rich collection of BBC live sessions, B-sides, and rare electronic remixes from the OK Computer era. Highlighting raw studio and live performances from BBC Radio 1's "The Evening Session" and "Later… with Jools Holland," the set captures classic tracks like "Paranoid Android," "No Surprises," and "Exit Music (For A Film)" alongside beloved B-sides such as "Polyethylene," "Pearly*," and "Talk Show Host." Complete with ambient electronic remixes of the title track by Zero 7 and Fila Brazilia, this collection offers a deep dive into the band's peak experimental alternative sound.

Originally compiled by Stevo Pearce in 1985 for the iconic UK underground label Some Bizzare and reissued in 1997 by Thirsty Ear, If You Can't Please Yourself You Can't, Please Your Soul is a seminal sampler documenting the golden era of early industrial, post-punk, and avant-garde electronic music. Featuring exclusive and rare tracks from pioneering noise, industrial, and experimental acts—including Scraping Foetus Off The Wheel, Einstürzende Neubauten, Cabaret Voltaire, Test Dept., Coil, and Psychic TV—alongside fearless alternative icons like Marc Almond, The The, Yello, and Virginia Astley. Uncompromising, abrasive, and deeply influential, this historic compilation remains an essential artifact of 1980s avant-garde sound.

Released in 2000 by Cuneiform Records, Regarding Purgatories is a landmark studio album by the American avant-garde progressive rock project 5UU's, spearheaded by composer, drummer, and multi-instrumentalist Dave Kerman. Recorded after Kerman's stint with Belgian RIO legends Present, the album showcases a meticulously constructed web of intricate rhythm structures, dissonant contrapuntal melodies, complex studio editing, and atmospheric studio experimentation. Blending aggressive progressive rock instrumentals with elements of chamber rock, jazz fusion, and contemporary classical arrangements, the album features key contributions from Bob Drake, Udi Koomran, and Deborah Perry. Outstanding pieces like "Meteora," "Belew And Beyond," and the epic two-part suite "To Fall On Deaf Ears" highlight 5UU's status as one of the defining voices in modern Rock in Opposition.

Released in 2005 by Chris Cutler's prestigious avant-garde label ReR Megacorp, Songs From Hurt is a profound electroacoustic and avant-art rock album by Australian composer, sound artist, and radio producer Robert Iolini. Blending documentary field recordings, spoken narrative fragments, experimental musique concrète, and intricate chamber rock arrangements, the album presents a stark, haunting exploration of human suffering, exile, and socio-political friction. The release is framed by two massive extended sonic canvases—the 18-minute opener "Silent Motion" and the 22-minute closing opus "Black Sheep"—which surround the central seven-part "Songs From Hurt" suite. Through processed concrete sounds, hypnotic soundscapes, and poignant vocal textures, Iolini creates a deeply immersive theatrical radio-art listening experience that blurs the boundaries between contemporary avant-garde composition, sound design, and experimental rock. Uncompromising, atmospheric, and politically charged, Songs From Hurt stands as a powerful masterpiece of modern Australian electroacoustic art.

Released in 1999 by SPV Recordings, Guitar Club Classics is an extensive two-disc compilation bringing together a diverse spectrum of high-energy post-punk, new wave, gothic rock, alternative, and psychobilly tracks that shaped alternative club culture. Across 35 tracks, the collection seamlessly bridges classic underground anthems with driving guitar-driven hits from seminal bands such as Joy Division, The Pixies, Bauhaus, Killing Joke, Dead Kennedys, The Cramps, and The B-52's. Offering an eclectic mix of brooding darkwave essentials, frantic punk cuts, and catchy indie-pop classics, this release serves as an essential sonic blueprint of the underground club landscape of the late 1970s and 1980s. Mastered to capture the raw energy of every performance, it remains a definitive historical retrospective for collectors and enthusiasts of alternative rock movement history.

Released in 1990 by Adelaide's famed Greasy Pop Records, Colour In A Black Forest & Six Sharp Cuts is a crucial CD compilation bringing together the foundational output of Australian indie/goth-rock outfits, The Spikes. Fronted by Aussie indie icon Ian List (ex-The Dagoes, later of The UV's), the Adelaide-based group drew frequent comparisons to The Scientists, Gang of Four, Green on Red, and Warsaw-era Joy Division for their fiery blend of post-punk grit, dark garage-rock energy, and moody alternative aesthetics. This CD reissue combines their debut 1984 Greasy Pop mini-LP Six Sharp Cuts along with their subsequent material, original singles, and rare bonus tracks. Highlights include their debut single She's Melting, their fiery garage cover of The Sparkles' Ain't No Friend Of Mine, and evocative post-punk tracks like River Of Love, French Bible, and The Theme From Acid Beach. An essential document for fans and collectors of 1980s Australian underground and post-punk rock history.

Sabotage (Live) is a fierce and uncompromising live document from Velvet Underground co-founder John Cale, originally recorded at the legendary NYC punk mecca CBGBs in 1979 and later expanded for CD by Diesel Motor Records. Standing as the noisiest and most aggressive performance record of Cale's solo career, the album captures his late-seventies transition into uncompromising proto-punk and post-punk intensity. Backed by a relentless, hard-rocking band, Cale delivers howling vocals, abrasive guitar textures, and sardonic lyricism on tracks like Mercenaries (Ready For War) and the dark, epic colonial critique Captain Hook. In addition to the original nine-track live set, this expanded 1999 edition features four essential studio bonus tracks, including the infamous Chicken Shit and the haunting Hedda Gabler. Raw, violent, and deeply atmospheric, Sabotage (Live) remains a vital masterpiece of post-Velvets avant-punk energy.

Released in 2016, Unseen marks a monumental chapter for The Handsome Family, serving as their first full-length studio album following the massive success of Far From Any Road as the opening theme for HBO's True Detective. Crafted by husband-and-wife duo Brett and Rennie Sparks, the ten central songs on Unseen are conceptualized around distinct guiding colors—gold, silver, green, red, and white—drawing heavily upon Rennie's painterly visual sensibilities and real-world inspirations. Steeped in the captivating Western gothic atmosphere of New Mexico, the narrative songs explore hidden dimensions, historical eccentrics, lost gambling fortunes, and desert landscapes where the invisible realm exerts a quiet power. Complemented by a bonus disc featuring iconic live or retrospective favorites including Weightless Again, So Much Wine, and Far From Any Road, the album showcases the band's rich lyrical craft and timeless acoustic arrangements.

Released in 1994, Odessa stands as the acclaimed debut album from Chicago alt-country pioneers The Handsome Family, introducing listeners to the distinct musical partnership of Brett and Rennie Sparks. Recorded with drummer Mike Werner, the album captures a raw, visceral sound that blends punk rock urgency with traditional country and roots influences. Rennie Sparks' dark, surreal lyricism takes center stage across fourteen tracks, weaving haunting narratives of suburban malaise, absurd existential dread, and eccentric storytelling. Highlights like Here's Hopin', Arlene, and Everything That Rises Must Converge set the foundation for the duo's signature gothic Americana style, establishing a unique voice within the 1990s alternative country landscape.

Scattered: A Further Collection of Lost Demos, Orphaned Songs and Odd Covers serves as a compelling sequel to Smothered and Covered, gathering a fascinating array of demos, outtakes, b-sides, and unique cover songs from throughout the band's career. The Handsome Family bridges contemporary music and timeless folk traditions, reimagining classic tracks such as The Beatles' Eleanor Rigby, Bob Dylan's Just Like Tom Thumb's Blues, and Hank Williams' Lost Highway alongside poignant self-penned originals like Snowball and A Plague of Humans. Throughout the collection, Brett and Rennie Sparks blend haunting bluegrass arrangements, dark humor, and desolate narratives to deliver a deeply resonant and atmospheric listening experience. From rare cassette recordings and four-track demos to compilation contributions, this release highlights the band's singular ability to connect traditional Americana with modern indie sensibilities.

On this fiercely unconventional, dark, and thrillingly unpredictable 1995 release, Austrian avant-garde outfit Scrooge delivers a bracing masterclass in underground art rock. Released on the cult Vienna-based imprint Trost Records, Happy What Else is a fascinating, high-fidelity collision of jagged post-punk tension, minimalist chamber music, and theatrical, avant-rock experimentation. The quartet thrives on a brilliant sense of musical subversion, where Regina Ausserwöger's haunting, expressive vocals and scraping violin lines dance over Oliver Stotz's sharp, angular guitar riffs, piano bursts, and sudden accordion flourishes. Grounded by the fiercely tight, unpredictable rhythmic foundation of bassist Romeo Bissuti and drummer Günther Castanetti, the band moves effortlessly from the hyper-kinetic bursts of "Hit The Pig" to the melancholic, deconstructed beauty of "Milena Jesenska," culminating in fractured multi-part conceptual pieces. This rare, boundary-pushing session remains an essential, deeply atmospheric treasure for collectors of experimental and avant-garde rock architecture.