If time has proven anything, it’s that Wire are forever the iconoclasts. After exploring some ideas leftover from the ’80s with their last album, 2013’s Change

In recent years, it seems like there has been no shortage of books to emerge from the Joy Division/New Order camp. A compendium of the notebooks of deceased

With nearly 200,000 immigrants from Jamaica arriving during the mid-20th century, England has long been a hotbed of cultural imports from its one-time

Released 31 years ago, Simple Minds’ seventh album, Sparkle in the Rain, remains an astounding work and the artistic pinnacle of the Glaswegian band’s

Though this site’s Ohio bias is well-known, I don’t think too many people will dispute the idea that Akron-born-and-bred electronic provocateurs Devo are a

As riveting as the music that sprang up during punk’s assurgency in the late ’70s might have been, the subsequent bands and variations that followed in its wake were perhaps even more astounding. Like many of their contemporaries, The Pop Group was an answer to punk’s DIY call to arms. The Bristol-born band took its vitriolic predecessors’ rebellious attitude and applied it to a hybrid …

The Church’s music has always existed in a cloud of hazy guitars and dreamily sung lyrics, but as hinted at with its title, the band’s latest threatens at times

Since forming a dozen or so years ago, A Place to Bury Strangers has created a small catalog that seems like a logical extension of the kind of feedback-laden

Of all the bands to emerge from England’s teeming post-punk talent pool of the late ’70s and early ’80s, Leeds’ Red Lorry Yellow Lorry is perhaps one

Named by friends in The Mekons after a faction in China’s Cultural Revolution of the late ’60s, Gang of Four is perhaps most widely known as the post-punk provocateurs responsible for songs like “Anthrax,” “I Love a Man in a Uniform,” and “To Hell with Poverty.” Seemingly fueled by punk’s lasting anger-derived energy when they formed in Leeds in 1977, on seminal records like their …