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Stockholm Monsters All At Once (Singles 1981-1987) [LTMCD 2337]

Remastered CD and download collection gathering together every Monsters single side for Factory, Factory Benelux and MASO between 1981 and 1987. Producers including Martin Hannett and Peter Hook. Seventeen tracks, detailed sleevenotes, artwork adapted from Fac 107 single sleeve by Trevor Johnson.


1. Fairy Tales
2. Death Is Slowly Coming
3. Happy Ever After
4. Soft Babies
5. Miss Moonlight
6. Lafayette
7. The Longing
8. All At Once
9. National Pastime
10. How Corrupt Is Rough Trade? (12" version)
11. Kan Kill! (12" version)
12. Partyline (Factory 12" version)
13. Militia (MASO version)
14. Dumbstruck
15. Partyline (MASO version)
16. Miss Moonlight (1984 version)
17. Shake It to the Bank (demo)

All At Once [LTMCD 2337]


"All At Once reveals that this much-maligned outfit have aged gracefully, while the provocative How Corrupt Is Rough Trade? single from 1985 even reveals a convincing - and hitherto concealed - agressive streak. With hindsight, funky swansong Partyline suggests they'd have been welcome at the Madchester bash if they'd stuck around for just 18 months longer" (Record Collector, 02/2015)

"The complete singles collection and probably the most accessible of the trio" (Record Collector, 06/2002)

"We're cooking with gas. All At Once benefits no end from the trumpet blasts and shows the Monsters had happily mastered the pop hook despite the misplaced 'dour' Factory tag. How Corrupt...? is quite phenomenal, while the EP from 1987 features some of their best material, tunes like Militia and the excellent Partyline brim with danceability and attitude" (Whisperin' & Hollerin', 04/2002)

"Stockholm Monsters made some amazing singles - a noise every bit as unhinged yet controlled as the Happy Mondays, held together by the sinewy muscles of the dispossessed" (Tangents, 04/2002)

"The Stockholm Monsters always put me in mind of the The Move before they discovered Heavy Metal - all Regency horns and rushing drums" (NME, 1984)

"A bit of brightness in the overcast early '80s Factory catalog, Manchester's Stockholm Monsters peppered their hurried pop songs with piping keyboards and pogoing bass. Their first single, Fairy Tales, is three minutes of perfection, built around a simple, twinkling melodic phrase. Tony France's baleful baritone gives the song nuance and character; he leaps up for the notes like he's trying to pluck something off a too-high shelf. The Monsters were also among the first Factory bands to use keyboards for something more than mere shading. Synths bubble merrily across Happy Ever After and whistle like pan pipes in Death Is Slowly Coming. Their refusal to bow to form makes them one of Factory's buried treasures" (eMusic, 09/06)