VIA PRESS RELEASE | Domino have today announced details of the re-release of Pete Shelley’s first two solo albums, Homosapien and XL-1—the first time both albums have been reissued individually as standalone releases since they were included as part of a box set by Genetic Records in 2018.
Out on June 6 2025, both albums come housed in gatefold sleeves featuring the original fully restored artwork, include an extra disc featuring B-sides, dubs, and extended mixes and contain inserts featuring new photos and imagery and extensive sleeve notes from the acclaimed writer Clinton 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 Shelley embrace a wider musical palate post-Buzzcocks and work with electronic instrumentation and synthesizers—Homosapien is seen as a massively influential and pioneering record and widely regarded as a musical signpost for the work Rushent did with The Human League on Dare a few months later.
Banned for homophobic reasons at the time by BBC radio, “Homosapiens” would become a gay club anthem and the queer element a hugely important part of both Pete’s personal and musical life, as showcased in both these albums.
Pete Shelley’s solo debut, Homosapien, released on January 15, 1982, was a long time in the making, drawing on ideas from before his time with Buzzcocks. Many of the songs, including the title track, were written as early as 1973, when Pete first began experimenting with home recording.
His early bands, like Jets of Air, were influenced by glam and experimental sounds, laying the groundwork for his later solo work. Despite his involvement in Buzzcocks, Pete’s desire to explore electronic music and more experimental styles grew, especially after seeing bands like Joy Division and Gang of Four garner critical praise.
By 1981, the tension within Buzzcocks was evident, with Pete feeling creatively stifled. The band was struggling with money issues, and Pete’s desire to explore new musical directions was clashing with the band’s more traditional punk style. He had already started working on solo material, including early recordings with Martin Rushent, who had encouraged Pete to pursue a solo project, and Homosapien took shape quickly, with Pete playing most instruments himself and using synthesizers to craft 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 Pete’s personal 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 with Somebody Else” were included in place of some earlier demos. The album marked a significant departure from Pete’s 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 of Buzzcocks, towards more introspective, experimental music. With Homosapien, Shelley embraced an electro-pop sound, largely overshadowed by The Human League’s Dare, despite Homosapien being recorded first.
Shelley explained his lack of interest in proving anything to the public, focusing instead on creating songs that resonate deeply, without adhering to commercial expectations. Critics compared Homosapien to the works of The Human League and Heaven 17, but Shelley’s focus was on creating timeless, personal music.
Shelley wasn’t interested in the “pop rat race” and felt punk had lost its edge and saw himself as a lone figure pushing the boundaries of the genre. By 1982, he was already looking ahead, blending influences from artists like Dexys and Roxy Music, while exploring new musical territory, including multi-media and computer-generated experiences.
On XL-1, released in May 1983, Shelley moved further into experimental sounds, utilizing new technology and creating songs in the studio rather than demoing them. He even incorporated video and 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 to keep pushing musical boundaries and experimenting with new sounds and ideas.
