The Cramps, “Smell of Female” (Vengeance, 2001; original release 1983)
Bryan Gregory having gone off to worship Lucifer and/or fail to become the next Robert Smith, this features Ivy shouldering full guitar duty, and the sound is actually bigger/louder/ruder than before, the punk side of their garage/surf/rockabilly Frankenstein-fusion starting to dominate.
Try 1/1, 2/ 4
10/2/18

The Cure, “Seventeen Seconds” (Fiction, 1980)
Their second album, and the first of their greatest works, the doom-trilogy that continued with “Faith” and “Pornography.” Their minimalist post-punk guitar-bass-drums thing still has some of “Boys Don’t Cry”’s sardonic pop chirpiness, but the buzz of neurosis, detachment, and terror is already rising on all sides.
Try 7, 10
7/29/13

The Cure, “Pornography” (Fiction, 1982)
The last and most extreme of the Cure’s post-punk minimalist gloom-rock works before their their pop transformation. This oscillates between roiling, tormented cacophony and eerily detached, brooding drones, and is great.
Try 3, 4, 8.
1/13/13

The Chills, “Kaleidoscope World” (Captured Tracks, 2016; original release 1981-84)
Earliest work from these New Zealand masters of jangly/drony guitar pop. The stark, luminous minimalism seems as natural as life, as eerily far away as the South Pacific and as warm as home.
Try 1/ 1, 1/ 2, 1/ 4, 2/2, 2/ 4
6/18/18

The Bonniwell Music Machine, “The Bonniwell Music Machine” (Warner Bros., 1968)
After the success of his classic garage-rock nugget, “Talk Talk,” Bonniwell decided it was time to spread out artistically, so this one feature shimmering orchestral psych-pop balladry, punkoid song structures twisted into weird arabesques, and bewildering quasi-philosophical musings, delivered in Bonniwell’s engaging goofy goon-drawl.
Try 1/ 2, 1/ 3, 2/ 3, 2/ 4
11/10/16

The Bobbyteens, “Fast LIvin & Rock N Roll” (Estrus, 1999)
The late ‘90s/early ‘00s garage-punk era posited an ideal of simultaneous catchiness and sonic attack that proved hard to attain, but on this release the Bobbyteens made it. Classic sixtiesesque tunes distilled to an insinuatingly repetitive essence and rammed home with rattletrap locomotion and precise force.
Try 2, 3, 9, 12
1/6/12

The Blow, “Paper Television” (K, 2006)
The Blow achieve the elusive ideal of electro-pop with a loose, flexibly cursive-flowing human touch. Like the best K stuff, it has a certain low-key, everyday drama to it, and here their songwriting at last lives up to its promise. These are pop songs that will stay with you.
2 is the best – one of the great love songs of our time – but the rest is also excellent.
Try 1, 0
6/7/11

The Bags, “All Bagged Up: The Collected Works, 1977-1980” (Artifix, 2007)
One of the earliest L. A. punk bands, the Bags also pointed the way toward hardcore (see A/1). As much as anyone, they created L.A. punk/HC’s signature aerodynamic, jet-propelled rush of antisocial blare, but here the joy is as palpable as the rage, is in fact inextricable from it – particularly in Alice’s vocals, one of the purest examples anywhere in early punk of somebody letting loose everything they’d been waiting to say for 18 years at once.
The great stuff is on the A; start with A/1, then A/2, then keep going.
10/22/11

The Adult Net, “Incense And Peppermints” (Beggars Banquet, 1985)
Fall guitarist covers the Strawberry Alarm Clock’s title classic. Not much like the Fall, but a fun piece of cool Kitsch, artifice layered on artifice as if history was a baloney sandwich of pop-culture archaeological strata.
Try 1/1, 2/1
10/2/18

The Adult Net, “Incense and Peppermints” (Beggars Banquet, 1985)
Fall guitarist covers the Strawberry Alarm Clock’s title classic. Not much like the Fall, but a fun piece of cool kitsch, artifice layered on artifice as if history was a baloney sandwich of pop-culture archaeological strata.
Try 1/1, 2/1
10/2/18