2LP – Black Vinyl housed in a Gatefold Sleeve. Featuring the original fully restored artwork, include an extra disc featuring B-sides, dubs & extended mixes and contain inserts featuring new photos & imagery and extensive sleeve notes from the acclaimed writerClinton Heylin.

Domino have today announced details of the re-release of Pete Shelleys first two solo albums,Homosapien and XL-1 – the first time both albums have been reissued individually as standalonereleases since they were included as part of a box set by Genetic Records in 2018.

Released on Friday 6th June 2025, both albums come housed in gatefold sleeves featuring theoriginal fully restored artwork, include an extra disc featuring B-sides, dubs & extended mixes and contain inserts featuring new photos & imagery and extensive sleeve notes from the acclaimed writerClinton Heylin. Both will also be available on CD for the first time since 2006.

Recorded in close collaboration with renowned producer Martin Rushent, both albums saw Shelleyembrace a wider musical palate post-Buzzcocks and work with electronic instrumentation andsynthesisers Homosapien in particular is seen as a massively influential and pioneering record andwidely regarded as a musical signpost for the work Rushent did with The Human League on Dare afew months later. Banned for homophobic reasons at the time by BBC radio, Homosapien wouldbecome a gay club anthem and the queer element a hugely important part of both Petes personal
and musical life, as showcased in both these albums.

Additionally, for this years Record Store Day on 12th April 2025, Domino recently announced therelease of Yesterday Is Not Here: Radio Sessions 1979-1983, a collection of 3 never-before-released Pete Shelley radio sessions – an acoustic one broadcast on Piccadilly Radio on 19th Jan1979, the other two recorded with full bands for David ‘Kid Jensen – one on 21st Dec 1981, recorded prior to the release of Homosapien, and the other on 14th Feb 1983, recorded before XL-1.

Pete Shelley’s solo debut, Homosapien, released on 15th January 1982, was a long time in themaking, drawing on ideas from before his time with Buzzcocks. Many of the songs, including the titletrack, were written as early as 1973, when Pete first began experimenting with home recording. Hisearly bands, like Jets of Air, were influenced by glam and experimental sounds, laying the groundworkfor his later solo work. Despite his involvement in Buzzcocks, Petes desire to explore electronic music
and more experimental styles grew, especially after seeing bands like Joy Division and Gang of Fourgarner critical praise.

By 1981, the tension within Buzzcocks was evident, with Pete feeling creatively stifled. The band wasstruggling with money issues, and Pete’s desire to explore new musical directions was clashing withthe band’s more traditional punk style. He had already started working on solo material, includingearly recordings with Martin Rushent, who had encouraged Pete to pursue a solo project, andHomosapien took shape quickly, with Pete playing most instruments himself and using synthesizers tocraft a sound far removed from Buzzcocks’ punk roots. Released through Rushent’s Genetic Records,Homosapien showcased Pete’s shift toward electronic pop, blending elements of glam and avant-garde music. The title track, with its provocative lyrics, garnered attention, though some of Petespersonal themes sparked controversy.

Despite initial resistance from his former label EMI,Homosapien found success, particularly in the U.S. with Arista, where tracks like In Love withSomebody Else were included in place of some earlier demos. The album marked a significant
departure from Petes past, but it also opened the door to his next creative phase.
In a 1983 interview, Pete Shelley discussed his shift away from the past, particularly the success ofBuzzcocks, towards more introspective, experimental music. With Homosapien, Shelley embraced anelectro-pop sound, largely overshadowed by The Human League’s Dare, despite Homosapien beingrecorded first. Shelley explained his lack of interest in proving anything to the public, focusing insteadon creating songs that resonate deeply, without adhering to commercial expectations. Criticscompared Homosapien to the works of The Human League and Heaven 17, but Shelleys focus wason creating timeless, personal music.

Shelley wasnt interested in the “pop rat race” and felt punk had lost its edge and saw himself as alone figure pushing the boundaries of the genre. By 1982, he was already looking ahead, blendinginfluences from artists like Dexys and Roxy Music, while exploring new musical territory, includingmulti-media and computer-generated experiences.On XL-1, released in May 1983, Shelley moved further into experimental sounds, utilizing newtechnology and creating songs in the studio rather than demoing them. He even incorporated videoand graphic elements into the album, embracing both dub mixes and cutting-edge music production.Despite the challenges,XL-1 was another bold step into the future, driven by Shelley’s ambition tokeep pushing musical boundaries and experimenting with new sounds and ideas.

Tracklist:

DISC 1
Side A:
1. Telephone Operator
2. If You Ask Me (I Won’t Say No)
3. What Was Heaven?
4. You Know Better Than I know
5. Twilight

Side B:
6. (Millions Of People) No One Like You
7. Many A Time
8. I Just Wanna Touch
9. You And I
10. XL1

DISC 2
Side C:
1. Many A Time (Dub)

Side D:
1. Telephone Operator/I Just Wanna Touch/If You Ask Me (I Wont Say No)/(Millions of People (No One Like You) (Dub)