Back catalogue: Indie/Alternative

Review: Legendary Reading shoegaze band Slowdive had s short but powerful run from 1989 until 1995 (during their first spell) and that included the 5EP. In the same year, it was remixed to perfection by Bandulu and Reload and now it gets reissued on limited hand numbered vinyl. First up, Bandulu stretch the original's heavy minor chords and fatten the track out into a dubby masterclass and then the Reload version from Tom Middleton & Mark Pritchard (better known as Global Communication) is even more impressive. It's a supremely blissed out cut with a slow motion rhythm and futuristic sense of soul cut on 45 rpm but just as suited to 33rpm playback.

Review: Much like the Sex Pistols, Bow Wow Wow were as much a product of Malcolm McLaren's commercial nous and love of provocation as they were a band, but with the passage of time you can hear their music in a different light. Made up of former Adam & The Ants members and teenage singer Annabella Lwin, they whipped up a powerful twist on the new wave template in which Burundi-style drumming, twanging Americana and post-punk scratchiness collided with pop hooks. If you can't get enough of that era of music, you will surely love discovering or re-discovering this breakthrough album from one of popular music's true curios.

Review: It could have all been so different when Death In Vegas first formed. Richard Fearless and Steve Hellier spawned the project in 1994 and got signed under the name Dead Elvis, but legal wrangling got in the way and they used the name for their debut album instead. Now Music On Vinyl have repressed the 1997 classic so we can revel in the grizzled take on big beat and trip hop the pair cooked up. It's very much of its time, but there's a snarl to the production which sets Death In Vegas apart from their peers at the time, opting for the dive bar ambience over the festival main stage you'd hear when playing The Chemical Brothers or Leftfield. For that reason Dead Elvis has aged very well indeed.

Review: Marking the 25th anniversary of The Magnificent Tree, Belgian trio Hooverphonic release a special limited edition of their third album, available on translucent blue vinyl. This edition comes strictly limited to 1,000 numbered copies, each with a commemorative insert; its four core singles 'Mad About You', 'Vinegar & Salt', 'Out of Sight' and 'Jackie Cane' became career milestones for the ethereal band, clinging to the Flemish Ultratop 50 for 107 weeks as they continued to hone and plane their established blue noir, post-trip-hop sonic vernacular. Also marking their 30th anniversary as a band, The Magnificent Tree is probably the best touchstone to describe their coming of age, ripping up the the comparatively innocent sonic formula of Blue Wonder Power Milk.

Review: Released in 2000, Poison is the third studio album by Swedish singer-songwriter Jay-Jay Johanson, having earned his place as a stalwart figure thanks to his melancholic vocals set to perspirant trip hop. From 'Believe in Us' to 'Colder,' not to mention the toxicologist's favourite 'Poison,' we're met again with Johanson's signature downtempos and experientially charged lyrics. Sophisticated atmospherics abound, bridging the all-to-intimate gap between sexuality and the unknown.

Review: This reissue brings The Modern Lovers' eponymous debut album back to life, a record that captured the raw energy and poetic spirit of the burgeoning American punk scene at its earliest inception. Originally released in 1976, the album features a collection of iconic tracks, including the anthemic 'Roadrunner' - subsequently covered by everyone from the Sex Pistols to Sleaford Mods and Iggy Pop - the introspective 'Astral Plane', and the quirky ode to 'Pablo Picasso'. Raw and yet sophisticated, with influences ranging from the Velvet Underground to garage rock, this is a real treat.

Review: The Only Ones' third album, Baby's Got A Gun, marked a departure from their previous self-produced work, as they collaborated with renowned producer Colin Thurston. Known for his work with artists like David Bowie and Iggy Pop, Thurston brought a new perspective to the band's sound. The album features guest appearances by Pauline Murray of Penetration, adding depth to tracks like 'Fools' and 'Me And My Shadow.' Fools stands out as the band's only cover song, originally by Johnny Duncan. Released in 1980, Baby's Got A Gun showcased The Only Ones' evolution while maintaining their distinctive style. Despite the album's critical acclaim, the band disbanded two years later, marking the end of an era for their unique blend of rock music.

Review: The reissue of The Only Ones' sophomore album, Even Serpents Shine, is a treat for fans and collectors alike. Following their acclaimed self-titled debut, it boasts a mix of heavy, brooding tracks and gorgeously crafted pop gems such as 'Flaming Torch,' 'Out There In The Night,' and 'Someone Who Cares,' all examples of their talented roster and direction. The reissue, limited to 1000 individually numbered copies, is a must-have for enthusiasts of punk rock, power pop, and psychedelia alike, as Even Serpents Shine continues to shine brightly in the musical landscape.

Review: Slowdive's Pygmalion stands as a profound yet overlooked gem in the band's discography. Released amidst the Britpop and grunge dominance of 1995, it was unfairly dismissed, leading to the band's quiet dissolution. However, if you revisit Pygmalion, it reveals a hauntingly beautiful departure from their earlier shoegaze roots. Now, pressed on vinyl, you can enjoy all the ways this release has stood against time and trends. The album is a minimalist masterpiece, stripping away their trademark wall of noise to reveal ethereal, ambient landscapes. Tracks like the opening epic 'Rutti' set the tone with its subdued guitar work and Neil Halstead's introspective vocals, evoking a sense of contemplative solitude. Throughout the album, space is pivotal - an expansive, cathedral-like atmosphere crafted through restrained instrumentation and atmospheric production. While critics of its time failed to appreciate its subtleties, Pygmalion now stands as a visionary work ahead of its time. Its influence can be heard in subsequent bands like Mogwai and Low, who embraced its meditative qualities and minimalist approach. In today's context, the album's tranquil melodies offer a refuge, resonating with listeners seeking solace amidst chaos. Slowdive's Pygmalion remains a shinning example to their artistic integrity and the enduring power of quiet introspection in music.

Review: First released in 1992, Slowdive's 'Blue Day' compiles the best of the band's earliest outings in the shoegaze genre, bottling them under a singly brittle, blue banner. Just seven tracks adorn its two sides, with the notable self-titled track 'Slowdive' signalling some hint of the band's origins (its wayward drumming getting at an especially happy naivete). Later moments on the record, such as 'Morningrise', are comparatively icier verging on frostbitten, with an overdriven crunch clipping off the most amped edges of the transient hits, suggesting an imperfect medium. On the B, the best of the lot is the slow colic of 'Losing Today', a song palpably packed with a sense of loss, most notably achieved via its soaring, cuspate guitar ogees, albeit ones which just about peek their heads above the shrednoise.

Review: The Stones Roses endure as a popular indie band decades after they were really relevant. Some of their biggest moments were all touched up by a selection of remixes who were at least loosely associated with early acid house, baggy and the indie dance cross over of the same period. 808 State go first and flip 'Made of Stone' into an electric big of indie-techno. Grooverider flips the most iconic of them all, 'Fools Gold', into a low riding breakbeat roller while Paul Oakenfold & Steve Osborne's Verizon of 'Waterfall' leaves al the glorious tumbling guitar melodies intact and beefs up the beats.