Loads of great debut recordings around at the moment, and my joint albums of the year are two fine examples, solo offerings from two generations inspired by punk.

Steve Drewett gained a lot of respect for his work with seminal 1980s cult punk heroes Newtown Neurotics, so in one sense his solo album Jenga Society (Cruel Binary), his first new release for 26 years, isn’t a debut album at all.

But in every real sense it is because it is so different from the Drewett of the old days.

Stripped down to acoustic guitar for the most part, which allows Drewett’s rich voice full expression, it’s an intensely personal effort which in many ways charts the story of his life.

The name of the title track is brilliantly chosen, given the current political climate. Jenga is a game in which players try to remove individual bricks from a structure without sending the whole thing crashing down — Drewett points out that this is exactly what is happening in Britain right now as the Con-Dems dismantle the welfare state bit by bit, disingenuously claiming everything still works while we know it doesn’t. A really fine song.

From there he takes us on a journey at once personal and political — his past relationships (You Break My Heart), his present loves (Around Love, The One), his reflections on political struggles such as the miners’ strike (Sweet Jesus) and two bare and powerful solo reworkings of classic Neurotics songs, tirades against violence, domestic and otherwise (Inch Away and Mindless Violence).

The last three tracks on the album are heartwarming, life-affirming and absolutely beautiful. A lovely song for his young and growing daughter, followed by one for his life partner — and then an astonishing Christmas song which will divide the Neurotics’ fan base I’m sure (!) but could definitely be a seasonal number one. It’s Christmas Time (Oh Yeah, Na Na Na) is Buggles meets Elvis Costello, it’s catchy as hell and I love it!

Drewett was once a Newtown Neurotic both on and off stage. But although he still lives in Harlow and is still spitting anger at the state of the world, in his personal life he is happy and at peace, and this album celebrates that. I can’t recommend it enough (www.steve-drewett.com).

Louise Distras as got to be the hardest working woman in punk right now. She is constantly on tour all over England and mainland Europe and Dreams From the Factory Floor (Street Revolution Records) is a great first album — the passion, energy and sharpness of her live shows nailed onto vinyl — or the CD equivalent.

For me, Distras is the leading light of a vibrant new generation of punk rockers, a young and switched-on working-class woman whose songs spit fire. Whether it’s the warm and fiercely anti-sexist The Hand You Hold, the anthem of union Stand Strong Together or Shades of Hate — her lament for the wasted lives on the mean streets of her home town of Wakefield — her voice rings true.

But Bullets is the song of the album, her riposte to a mother who told her that her dreams were worthless. I hope that mum was down the front at the O2 Arena when Distras supported Television recently.

Distras’s head is firmly screwed on. She has the the punk DIY ethic in spades and the determination and energy to get out there and spread the word and I think she’ll be a lot better known very soon. You heard it here first (www.louisedistras.co.uk).

Also highly recommended from this year’s releases are Nice Little Upper by Skewiff, Muster byHeadsticks and This Band Is Sick by Steve White & The Protest Family.

The Defiant by The Men They Couldn’t Hang is a rip-roaring, inspirational new offering by one of my favourite bands ever and In The Company Of Thieves by Gaz Brookfield demonstrates a fine young singer-songwriter making waves.

Then there’s Good Politics by the unconquerable Thee Faction and Erban Hyn by the unique Welsh genius and acquired taste which is Datbyglu.

Beery Clashmas to one and all.