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If you wanted to fill a compilation album with songs of adolescent angst, you wouldn't have too much trouble, particularly if you're a fan of guitar-based rock music. Call it 'Teenage Kicks', start with the title track, and off you go. But what would you pick for its album equivalent? Is there a long-playing record that sums up the experience of being a disaffected, angry and unloved teenager in the modern world, particularly the male of that particular species?

When punk arrived in the UK in late 1976 it had its radical aspects, including questioning the relationship between audience and artist, but it was essentially a form of back-to-basics rock ’n’ roll, albeit harder, faster and more aggressive than its predecessors.

From 1976, UK punk produced such a surge of energy that it was like riding a wave, both for musicians and fans alike. The Cure began in earnest in Crawley that year, as The Easy Cure, having grown out of a number of other bands dating back to their schooldays. Robert Smith was on guitar and vocals, Lol Tolhurst on drums and Michael Dempsey on bass. Their sound was sparse and urgent, fuelled by punk but with a finger on the pop pulse.

In 1985, Scritti Politti had enjoyed chart success with their second album, Cupid & Psyche 85, and had achieved hit singles both in the UK and the US. And with his dreamy demeanour, honeyed vocals and dyed blonde mullet, lead singer and occasional guitarist/keyboard player Green Gartside had become a bona fide pop star.

It's a malaise almost as old as pop music itself. Second album syndrome – the crisis faced by an artist writing the follow-up to a hit debut LP, when they realise that after having had their whole lives to come up with the contents of their first offering to the world, they now only have a few months to rustle up a fresh batch of equally strong material for the follow-up.

For much of the '70s it was customary for bands or recording artists to retire to a rural bolthole for a spell, hoping the country air would help them get their head together. Disillusioned and burnt out from recording and touring, in 1976 John Martyn tried this himself. But in his case the destination was another country, halfway across the world.

There comes a time in every band's career when the only way is pop. Having slowly built a loyal cult fanbase and a burgeoning critical reputation on the back of three albums (and an early EP) that intertwined artful post-punk and lopsided, Paisley Underground-adjacent guitar rock, by 1987 R.E.M. were ready to paint with broader strokes, albeit while retaining a pronounced polemical edge and one foot firmly in an angular, left-field musical lineage.