Slowdive - Outside Your Room (1993)

"If you don't have Slowdive's EP's you're missing their most of their best music. Luckily, their contents are not nearly as difficult to find as they were ten years ago as a result of reissues and compilations. The original's still command very high prices, however. This one tends to get lost amidst the three earlier ones and the more Post-Rock oriented later ones, but it's still indispensible. Coupling Souvlaki Space Station with Moussaka Chaos is almost an overdose of pure bliss, but the hidden gem here is "So Tired" which has one of the most stunning down-tuned, reverbed guitar parts I've ever heard. All of Slowdive's music is timeless and ravishingly beautiful, and this album is no exception."



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M83 - Before the Dawn Heals Us (2005)

From allmusic (3.5/5):

"Before the Dawn Heals Us is M83's follow-up to the 2003 international breakthrough Dead Cities, Red Seas & Lost Ghosts. If you're noticing a trend toward drifting album titles, that's deliberate -- M83 mastermind Anthony Gonzalez loves crafting antigravity masterpieces of layered and meandering synthesizers. He's also the principal player on Dawn, with previous collaborator Nicolas Fromageau having moved into solo work. Left to his own devices, Gonzalez has made a more cohesive record than Dead Cities. As nice as they were, that album's synthesized soundscapes tended to drift into a foggy territory between Boards of Canada and Tangerine Dream. Dawn remedies that with the addition of vocals, more consistent beats, and a cinematic pace. "Teen Angst" and "Don't Save Us From the Flames" pin gorgeous melodies to an indie electronic sound comparable to the Notwist; "Flames" in particular is a great departure, roaring out of the gate with giddy drum fills and an oscillating keyboard squiggle. "Farewell/Goodbye" is an icy, Air-ish duet between Ben of Cyann & Ben and Big Sir vocalist Lisa Papineau; it's not the most effective thing on Before the Dawn Heals Us, but it works as a love theme to the imaginary Michael Mann film Gonzalez seems at times to be directing. (Check out that cover art.) The album also has its stretches of instrumental wander. "I Guess I'm Floating," for example, features a scattered sample of children's laughter over lingering keyboard flourishes. But Gonzalez never gets carried away on the breeze -- he'll set a mood, but he'll cut it wide open, too. "Let Men Burn Stars" is a breathy and innocuous lull before the recording's most intense passage, "Car Chase Terror." "Look at my hands, I'm shaking...." a woman (actress Kate Moran) says over the hiss of crickets, her words tense with fear. A moody electronic pulse fades in, and suddenly you're in the midst of the chase, narrated by the same scared voice -- "Turn the key! Go! Go!" -- and the melody is melodramatic and terrifying all at once. Before the Dawn Heals Us is ambitious for sure, an emphatic step forward from the linger of Dead Cities. But it might also be a transition album for Gonzalez, a storyboard of where he'll take M83 next."



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A Place to Bury Strangers - Exploding Head (2009)

From allmusic (4/5):

"Though A Place to Bury Strangers called their second album Exploding Head, it's arguable that their debut, with its walls of low-rent distortion and abrasive beats, was more cranium-crushing. Even if the band's move to Mute resulted in cleaner, ever-so-slightly calmer surroundings for their music, A Place to Bury Strangers' sound and songwriting have more power and nuance here, as well as more structure -- nearly every song balances the black-on-black menace of their debut with pop appeal. Nowhere is this clearer than on "It Is Nothing," which opens the album with a three-minute burst of buzzsaw guitars, or on "Lost Feeling," which boasts a subtle tension and dive-bombing dynamics that wouldn't have been possible on the band's debut. This faithfulness to shoegaze's dark side sets A Place to Bury Strangers apart from many of their fellow revivalists who favor wispy, cotton-candy clouds of sound. Befitting their name, the band is still obsessed with death and destruction, be it physical or spiritual (as on the aptly fuzzed-out epic "Ego Death"). Interestingly, Exploding Head's more polished production brings out some of the more retro elements in the band's music, underscoring their fondness for goth, synth pop -- and in "Deadbeat"'s case, surf rock -- as well as their shoegaze foundations. They sound more like a pissed-off, guitar-enhanced New Order than ever on "In Your Heart," and close the album with "I Lived My Life to Stand in the Shadow of Your Heart," which offers heroic doses of pure effect pedal-stomping heaven. At times, listeners of a certain age will swear they heard one of these songs on college radio or saw one of the band's video on 120 Minutes or PostModern MTV -- "Slipping Away" in particular has the feeling of a forgotten classic -- and that's a compliment. Exploding Head is a fine step forward for A Place to Bury Strangers, and shows they're among the best bands bringing shoegaze into the 21st century"



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My Bloody Valentine - You Made Me Realise (1987)

hprill's review on Rate Your Music (4.5/5):

"Perfect.

If MBV ever released a collection of songs that doesn't even carry an ounce of pretentiousness in it, this is it; this is as straight as MBV ever were. The five tracks on this EP aren't artsy, dreamy or shoegazey; they are great pop music without all the bubblegum and the polish.

Everything is as tight as it can get. The title track is urgent, powerful and noisy; "Slow" is, well, slow and heavy on the bass. "Thorn" surprises with acoustic guitars and a post-Smiths attitude that other British bands must have envied well into the early 1990s.

Don't expect anything like Loveless -- there are no blobs of sound on this album, even though traces of the band's future sound are noticeable. But here the drums are still pounding, the lyrics still understandable, and the songs are compact and don't flow (or float) around the room.

As fantastic as British indie pop ever got in the late 80s."

Or, you can go with my review on the same site (5/5, though I'd give it a 6/5 if I could):

"Amazing that in this transitional period the band managed to release the most cogent and concise work in their œuvre. The songs come on, whoosh past you; ephemeral.

Now time to start hunting for this on vinyl."

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Cranes - Loved (1994)

From allmusic (4/5):

"On the band's third major album, Cranes found themselves balancing more immediate accessibility with its own particular musical obsessions like never before. If nothing on the album was as immediately harrowing as much of the band's late-'80s/early-'90s work -- guitars and drums both were generally less forceful and out in front -- Loved was still a mysterious and artistic experience, effortlessly standing aside from prevailing music trends. The band's self-production skills continued to improve, evidenced by the sometimes elaborate arrangements; if the core of Cranes' music revolves around intentionally basic rhythms and melodies repeated as mantras, it's always been the focused delivery that puts everything together. Where things get more conventionally catchy, it's an interesting combination of brute electric power and hooky melody. "Pale Blue Sky" is a good example: A roiling band performance, slightly buried in the mix, kicks out the jams while Alison Shaw's much clearer singing traces a hummable lead melody. It's not power pop, but it's a change nonetheless. Lead single "Shining Road," with its quick, catchy pace, sets the tone for a fair number of the album's cuts like "Reverie" and "Beautiful Friend." If anything, there's something of Siouxsie and the Banshees' early-'80s work coming out in the brisk performances. "Paris and Rome" is the sleeper on the album, appearing towards the end. It's another in the line of beautifully orchestrated numbers like "Adoration" and "Cloudless," building towards a dramatic, evocative ending. Other weirdly pretty numbers include "Are You Gone?" and the piano-led, very Cocteau Twins-styled "In the Night." Three remixes appear on the American version of the album as bonus tracks. Two, Michael Brauer's take on "Shining Road" and Flood's revamp of "Lilies," come from the Shining Road EP, while the third is new, with Flood remixing "Paris and Rome.""

Get it here.

Also:
Cranes - Wings of Joy (1991)
Cranes - Forever (1993)

Pale Saints - In Ribbons (1992)

From allmusic (4/5):

"An argument could be made for In Ribbons topping the Pale Saints' debut, and it would be a rather solid one. Thanks to yet another stellar job by "knob twiddler of the mighty atmospheric pop bands" Hugh Jones, the Pale Saints sound full and polished, gleaming and bright. What makes this a lesser record in comparison to its predecessor is the absence of that loose sense of adventure from before. The songs are strong, the musicianship is improved, and Meriel Barham's presence as second guitarist and vocalist provides for more muscularity, but In Ribbons is missing the slightly perverse sense of experimentation that The Comforts of Madness had in spades. The unpredictability is gone, which is one of the few downsides of a band whose members are getting to know each other musically. That doesn't prevent In Ribbons from being a great record, stacked to the gills with great songs. Barham's sporadic contributions provide a fine spoil to those of Ian Masters. The mid-tempo moodiness of "Thread of Light" benefits from Jones' excellent treatment of her voice, with swooning backgrounds that dart between the left and right channels. (The verses bear odd sonic resemblance to Duran Duran's "Save a Prayer" -- no kidding.) Her reading of Mazzy Star's "Blue Flower" tops the original, and "Baby Maker" also makes the grade with its dizzied liveliness. Masters' love for the abandonment of rock constructs strikes upon a zenith on "Hair Shoes," a drumless cluster of limpidly jousting guitars that simultaneously jiggle, rattle, moan, twinkle, and reverberate. His miasmatic vocals seal the track off as a brilliant approximation of the oceanic wash of 69-era AR Kane. Otherwise, more accessible fare, like the sprightly "Throwing Back the Apple" (a single) and the melancholy epic "Hunted," are also accountable for the record's success. Though these tracks' more traditionally structured material doesn't sound a great deal different from many of the Pale Saints' peers, the wan voice of Masters -- who sounds less world-weary here -- clearly sets this unit apart."

Get it here.

Also:
Pale Saints - The Comforts of Madness (1990)

Pale Saints - The Comforts of Madness (1990)

From allmusic (4.5/5):

"When thinking of the finest dream pop records from the early '90s, The Comforts of Madness tends to get lost in the shuffle. Frequently and unfortunately, the Pale Saints were disregarded as just another part of the 4AD sound, lacking distinction and relying on the clichés of the time. Though they might have (arguably) fallen into those traps later in their brief career, their debut really does stick out from the remainder of the 4AD roster as well as the remainder of the then-current scene. The touchstones -- Jesus and Mary Chain, My Bloody Valentine, Galaxie 500 -- are somewhat apparent, but their debut is certifiably unique. Noise and melody duke it out, but in an arrestingly off-kilter fashion. Comforts is really as much of a "quirk-out" as it is a "bliss-out," experimental in many ways and apparently so from the beginning of "Way the World Is." The noisy rattling eventually gives way to wobbly bass and tunefully violent Wedding Present-like strumming, whipping up a tempestuous haze of frenzied pop. Throughout the record, the trio throws in countless tempo curveballs (with no sense of pomposity) and effectively balances the blasting chuggers with levitational banks of piled-on guitarscapes. The somewhat thin production lent by John Fryer and Gil Norton (on separate sessions) actually serves Comforts well, though it may take a few listens to settle in. The somewhat trebly, un-anchored production is properly suited for Ian Masters' boyish vocals, which sound like they're just on the brink of pubescence. His vocals are just as important to this record as Graeme Naysmith's guitars, not vanishing into the gobs of guitars like your typical shoegaze. "Sight of You" (retooled from their debut EP) is the centerpeice, a lovelorn gem that sounds vaguely like the lost track to Psychocandy. In whole, this debut remains a brilliant example of insular, adventurous, and charmingly flawed noise pop."

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Catherine Wheel - Ferment (1992)

From allmusic (4.5/5):

"Centered around re-recorded versions of four songs from the band's two Wilde Club singles and the seven minute lovelorn "Black Metallic" - which was referred to as the "Like a Hurricane" of the ‘90s - the deeply rich Ferment firmly established Catherine Wheel amongst the shoegaze contingent of the early ‘90s. The band would proceed to denounce the shoegaze tag, but it was a fitting one, at least with everything they released prior to 1993's harder edged Chrome. Along with bands like Lush, Ride, and Slowdive, Catherine Wheel buried their sing-along melodies in wafts of distortion and blurry production values. Rob Dickinson had yet to find comfort as a lead singer, so his somewhat fey and dazed emoting blended perfectly with Tim Friese-Greene's comfy production. A fair amount of the bands thrown into the same category as Catherine Wheel were criticized for lacking knowledge of their instruments, but a couple listens to Ferment should prove that they were hardly amateurish. The employment of numerous guitar pedals didn't serve as a smoke-and-mirrors ruse, and Friese-Greene knew enough to allow room for bassist Dave Hawes and drummer Neil Sims to flex their able muscles. Dickinson and lead guitarist Brian Futter were immensely skilled and complementary to each other from the band's inception; certainly they were one of the most unrecognized guitar duos of their stylistic brethren. Like all fine debuts, Ferment is varied emotionally, ranging from lust ("I Want to Touch You") to bliss ("Shallow" and "Salt"). It's a record that makes you want to crawl inside its sleeve and remain. It's as welcoming as it is insular and sheltered."

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Curve - Doppelgänger (1992)

From allmusic (4.5/5):

"Following a series of single and EP releases that had found chart success in the U.K. and indie credibility in the States, the British band Curve released their full-length debut Doppelganger on Dave Stewart's Anxious label. Led by lead singer Toni Halliday and guitarist Dean Garcia, both of whom had toured with Robert Plant, Curve enlisted production help from Flood for this record. Roaming the same sonic landscape as My Bloody Valentine, Doppelganger features the breathy, dreamy vocals of Halliday over top layers of throbbing guitar, dense keyboards, and sledgehammer drumming to create formidable aural textures. At times meandering and unrelenting, tracks like "Already Yours" and "Wish You Dead" are stellar workouts full of rhythm and attitude. The few slower numbers are a nice change of pace with the best results on "Fait Accompli" and the quiet, almost dirge-like "Sandpit," where the less dense instrumentation allows Halliday's vocals to become the focal point. At times menacing and dark and other times more playful, Doppelganger is a bracing listening experience that earned Curve well-deserved attention on both sides of the Atlantic."

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Ride - Smile (1990)

From allmusic (4/5):

"A pairing of Ride's first two EPs, Smile is a batch of eight muddy, shambling wrecks that run dangerously close to obscuring great pop songs. In fact, much of Smile makes My Bloody Valentine's blurry Isn't Anything sound as polished as a Steely Dan record. What makes the tunes remarkable is the spirit of the band, along with a complementary mix. The band probably knew exactly what they were doing, but wanted to sound clueless. It's the sound of four art students losing themselves in their record collections, wanting to sound naïve and fresh but well-studied. Mark Gardener sounds like he couldn't sing to save his life on "Chelsea Girl," but it's no matter. The relentless rush of Loz Colbert's drums and distorted guitars of Gardener and Andy Bell carry the song, topped off by a nifty wah-wah climax. Though the mid-tempo, chugging "Drive Blind" could be taken literally, it could double as a metaphor for throwing oneself headlong into a relationship -- closing your eyes and not caring if a brick wall or cliff is up a mile ahead. The remainder is filled out with sticky riffs and melodies which avoid sounding like the standard pop fair. It sounds a bit amateurish, and Gardener and Bell hadn't quite found their footing vocally. Nonetheless, Smile brought something new to the table, and the U.K. audience and more adventurous U.S. fans clutched onto the sound for dear life. Rightfully so."

Get it here.

Also:
Ride - Nowhere (1990)

The December Sound - The Silver Album (2007)

This is one of the best shoegaze albums since Loveless. I couldn't really find any comprehensive reviews for this album (but then again, I didn't try too hard either), so here's synapsistapped's review over on Rate Your Music (5/5):

"The Silver Album is a breath of fresh air. It is shoegaze in its best form, filled with buzzing guitar sounds complemented by soft, echoing vocals unintelligibly distant in the background. With this release, The December Sound indubitably distance themselves from the generic minimalist post-rock sounds revered by today's indie culture. The music effectively pulls the same emotional strings, but instead leaves the listener with pure substance rather than ambiguous sentiments."

Take his word for it. This album is great.
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Ride - Nowhere (1990)

From allmusic (4.5/5):

"Nowhere seems to hold consensus as the second-best record of the shoegaze era, and with very good reason. All of the common words, phrases, and adjectives commonly used with the short-lived subgenre fit properly here, and they're all positive, every one of them. Whir, whoosh, haze, swirl, ad nauseum -- this record holds all of these elements at their most exciting and mastered. But in the end, great pop records necessitate quality songs, which Nowhere delivers throughout. Undeniably, it's Ride's zenith -- dense, tight, hypnotic. "Seagull" serves as a dynamic opener; after a couple seconds of light feedback, bassist Steve Queralt kicks in with a rubbery, elliptical line (reminiscent of a certain Beatles song), which is soon followed by Andy Bell and Mark Gardener's guitar twists and Loz Colbert's alternately gentle and punishing drumming. After the upbeat "Kaleidoscope," the record falls into a tempo lull that initially seems impenetrable and meandering. However, patience reveals a five-song suite of sorts, full of lovely instrumental passages that are punctuated with violent jabs of manic guitars. The endlessly escalating "Polar Bear" is a high point, featuring expertly placed tom rolls from Colbert. The tempo picks up for the closing "Vapour Trail," a wistful pop song with chiming background guitars galore and mournful strings to close it out. The U.S. version was bolstered significantly with the remainder of the Fall EP ("Dreams Burn Down" having reappeared earlier in the record). "Taste" is one of their finest pure pop numbers; the moody/driving "Here and Now" rates well, and the five-minute "Nowhere" is a nasty distorto-freakout."

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