With her faible for outrageous dresses, hairdo and make-up Danielle was soon pigeonholed as a Goth diva. Mick Mercer mentioned her in his "Gothic Rock Book" and at one time she had played at London's famous Batcave club. Indeed, Danielle's image was very much Goth in the 1980ies, while the music did not have too much in common with the likes of Bauhaus, Specimen or Danse Society.

Danielle deliberately mixed musical styles and crammed several influences into a pop arrangement, ranging from Psychedelic and Oriental to Country and Bluegrass, Avantgarde and Jazz styles. This was coupled with her very characteristic vocal lines and almost childish fascination for experimental recording techniques. In Danielle's songs you can hear guitars, bag pipes, toy instruments, trashy sequencer sounds, pet toys and a whole lot of weird alienated samples of background noises.

1984 saw the release of the brilliant and highly original "Jesus Egg That Wept" EP, mainly done in collaboration with keyboarder and guitarist David Knight. As public interest grew, Danielle decided to do a live tour and put a band together. On December 1st, 1985, the band recorded a live set of four titles for BBC 1 presenter Janice Long's radio show (a mix of music and chat), which was later released by the Strange Fruit label.

A couple of singles were released and established Danielle in the independent music scene. It started with "Yummer Yummer Man" (1985), later to be followed by the "Cat House" (1988) and "White Knuckle Ride" (1989), still popular in alternative dance clubs.

1987's "Inky Bloaters" LP proved to be a huge success and led to a recording contract with major label Sire. The first release for the label was the compilation "Dark Adapted Eye", sort of a re-release of "Inky Bloaters" material, including additional songs.

Then, in 1990, "Blast The Human Flower" came out and unsurprisingly proved to be a lot more accessible than her previous records - a real bastard album. The cover version "Tomorrow Never Knows", originally penned by The Beatles, even gave Danielle some commercial success, but at the end of the day the collaboration with Sire proved to be unsatisfying, and so Danielle slipped out of the contract and decided to spend a couple of years outside the music business.

> Blast the major labels