A milestone in the development of British indie in 1980 because of its quiet economy, ‘Colossal Youth’ was the only album from the short-lived Young Marble Giants.
25 years on, Tricky’s dense, paranoid and beautiful debut album ‘Maxinquaye’ feels like an avenue that artists are only just starting to explore.
Economical, precise and immense fun, Two Door Cinema Club’s 2010 debut ‘Tourist History’ gave indie a commercial shot in the arm at the start of the decade.
An understated mix of alternative country and lush chamber-pop, Lambchop’s 2000 album ‘Nixon’ remains Kurt Wagner’s masterwork.
A skull-crushing onslaught of psych, krautrock, dub and post-punk enhanced by a small army of cutting edge producers, ‘XTRMNTR’ was Primal Scream’s second masterpiece.
Leftfield’s 1995 debut album ‘Leftism’ was one of the finest major achievements in British electronica, as influenced by dub reggae as much as house.
Beach House’s 2010 album ‘Teen Dream’ was the joyous sound of a band finally discovering the full extent and power of its own voice.
The two completed solo albums from Syd Barrett, both released in 1970, remain intriguing insights into one of English music’s most elusive figures.
40 years after its release, ‘London Calling’ still stands as the album that signposted a departure from the restrictions and solipsism of first-wave punk.
The Rolling Stones’ 1969 masterpiece ‘Let It Bleed’ provided an entirely apt metaphor for the end of the Sixties.
