First: is it “Helen Love”, or “Love, Helen”? This matters. Does it sit, on the 10” shelf, next to Hardvark or next to Lord High Fixers? Where would you rather be, reader?

Second: The Ramones are massively over rated.

Third: So are The Clash, whose Tommy Gun is track one. (It’s okay.)

Fourth: I always had a Love/Hate thing with Helen Love, possibly because she/they (ooh, how modern!) released tons of singles which, like Star Trek films up to Nemesis, were alternately good and bad.

These selections sample each camp. Does Your Heart Go Boom? is Voyage Home great; Shifty Disco Girl is Search for Spock sketchy, its disrespect of St Etienne lifting it out of Final Frontier territory.

I am ambivalent to these Precious releases. I’m against looking back, and against being one of those music fans forever stuck in an era. Reading books about Lush and buying repackaged Helen Love archive material is no better than buying a half-speed master of Abbey Road and a Taschen of David Bowie photos.

But, though I hate rewarming my youth, these records are very well done. Their design is great; the choice of artists is tasteful and not always obvious, and it’s good to hear lo-fi indie chancers recorded by proper BBC people who knew what they were doing. I enjoy the sleevenote recollections too, and the photo postcards. (Here mostly done by everyone’s indiepop favourite Alison Wonderland.)

Helen Love is/are still out there doing it, which I think gives me a pass. I enjoyed this for its own sake.

Starting off a fistful of Static Caravans is Hannah Peel. Or, as they would have said back in the day “The Lovely Hannah Peel”. They always used to say that when a lady was on a telly thing. And everyone would clap. It seems very odd now. We like to say not to judge other times by the standards of today, but you can’t help but do it, can you? Things that were normal for years can seem very odd now, or creepy.

I haven’t listened to an awful lot of Hannah Peel, but I like what I’ve heard. Her songs are clever and engaging, and she loves and understands sound. Both songs here are simple, pretty, and finely composed, arranged, and performed. They sound great too, particularly the vocals. The sleeve art fits perfectly: it looks like the music sounds, and that’s not easy. That’s your complete package, right there. Lovely, Hannah Peel.

If I recall correctly, The Harrowing was that episode of Inside Number 9 where they gave the babysitter to a demon. It was pretty nasty. Not as nasty as that Krampus one though. That genuinely upset me. I know Number 9 is big on exploring horror tropes, but there’s a bit much violence against women for my comfort. I’m funny about that though, these days.

This is much too folky for my taste. Not my thing at all. I’m nearing a point at which I might have to clear out some sevens, and this will probably be one of them. Someone else will enjoy it more.

The last island we visited in these parts, was the Totally Nude island. I could imagine that, but I can’t imagine what an inverted island would be. And I’ve read Inverted World.

On the ‘a’, Obfusc (good name) mix some nice sandpapery electronica with some abrasive guitar, and make something surprisingly smooth and catchy. On the ‘b’ they drop the guitar, crank the drum machine, and make a pretty pleasant noise for a few minutes.

People bang on about The Artwork on the “vinyls” don’t they? It’s usually the next thing they mention after The Warmth. But a lot of records don’t have very good artwork and I think I’ve seen more good art on 7”s than 12s. But this is really good. It folds out into three sides of a cube, which very much reminds me of the Borg cube you could get of all the Star Trek DVDs.

I always wonder where Richard James keeps all those synthesizers he’s supposed to have got. I’ve got three, and they still manage to take most of a room up. Where are you going to keep three PS3300s?

Side 1 left me a bit cold, but 2 was great. That’s some good drum programming.