Happy February? The days are getting slightly longer and warmer, the Grammys are behind us, and the release schedule is picking up. So that’s good. This week I review seven new albums: FACS‘ best record yet (which was also the last thing Steve Albini worked on); Drop Nineteens‘ “lost” album 1991; Guided by Voices‘ get weird on their 41st album; The Moles’ first album in nine years (which is on Robert Pollard’s new label); neo-goths Heartworms‘ debut LP; French-Canadian country group HORSEBATH; and a major step up and out from Welsh trio Adwaith.

For this week’s Indie Basement Classic, the new Moles album had me pulling out their early-’90s debut, Untune the Sky.

If you need more album reviews, Andrew spins the debut from Sharon Van Etten & The Attachment Theory (I like it too), Squid (I’m nonplussed), modern sax great James Brandon Lewis, and more in Notable Releases.

What else? Record Store Day announced their 2025 exclusive titles and among them is Gorky’s Zygotic Mynci’s Barafundle which is out of print, not on streaming, and on my want list for years. Check out the whole list.

Other Basement-friendly news from this week: DEVO will not stay retired and announced a tour; The Chameleons are coming back this spring; King Hannah are touring, as are Corridor/Robber Robber; Sacred Paws are back with a new album announcement, as are Anika, and Mei Semones. Unrest are reissuing Perfect Teeth!

Pour one out for the coolest looking dude in Soft Machine, Mike Ratledge and Sal Maida (Milk ‘N’ Cookies, Sparks, Roxy Music).

Head below for this week’s reviews…

ALBUM OF THE WEEK: FACS – Wish Defense (Trouble in Mind)
The Chicago trio’s sixth album is their best yet…and the last thing Steve Albini worked on

Morphing out of Dissapears in 2017, Chicago trio FACS have managed to just about release an album a year since they started and there is something about their creative ethos that has them noticeably different with every record. Not drastically different; dark post-punk, wiry Dischord punk and post-hardcore is in their bones, but they are always changing things up within it, moving forward. And getting better. Wish Defense is FACS’ sixth album and comes with a couple talking points. This is the first album they’ve made since original guitarist (and Disappears member) Jonathan Van Herik rejoined the band after leaving just before they released their 2018 debut. He’s now over on bass and brings a welcome injection of melody to the FACS equation that also includes atmospheric guitarist/yowler Brian Case and monster drummer Noah Leger. I have tended to talk about FACS mostly in terms of mood and vibe, and while they’ve still got that in ample supply, Wish Defense also has hooks and memorable choruses to go with that air of foreboding dread and explorations of Lynchian duality. “I’m not here, I’m not here,” Case cries on the album’s bracing title track. “Are you real?” I know how he feels. The other factoid is that this was recorded by the late Steve Albini and they’d just finished the bulk of tracking it just hours before he died. (Sanford Parker came in to finish recording, and John Congleton was brought in for the mix.) FACS have recorded all their albums at Electrical Audio but the “Albini sound” — rhythm-section-forward, punchy, lots of headroom — is clearly perfect for what they do and his touch is felt immediately. Everything hits a little harder, with more clarity. That it happened with the band’s most impactful, best batch of songs yet feels like the stars aligned above West Belmont Ave.

Wish Defense by FACS

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Drop Nineteens – 1991 (Wharf Cat)
More popular than ever, these shoegaze vets have dug out early demos for what could’ve been their debut album

Boston shoegaze greats Drop Nineteens formed while in college in 1990 and recorded demos on an 8-track reel-to-reel, that was set up in their dorm room, and that they sent out to labels in hopes of getting signed. They inked a deal with Caroline in the US and Hut in the UK (both were owned by Virgin), and when it came time to record their debut album, they decided to write and record all new material and leave those demos in the past. With the band back together after 30 years apart, now more popular than ever, and having released a great new album and reissued that debut album, Delaware, last year, they’ve now gone back to those early 8-track recordings.

“We called them demos at the time,” says the band’s Greg Ackell, “but now they’re just unreleased Drop Nineteens songs that never benefited from the fidelity of a recording studio. We remastered them, some 33 years later for this release, but they still evoke our infancy as a band.” 1991 isn’t quite a what-could’ve-been, Sliding Doors moment for Drop Nineteens; instead it’s more a Polaroid of a moment in time for a talented band who hadn’t quite escaped their influences yet. With it’s funky beat and waves of glide guitar, “Shannon Waves” owes a lot to My Bloody Valentine’s “Soon,” and you could play Shoegaze Bingo with the rest of these songs, with boxes for Cocteau Twins, Slowdive, Lush, The Field Mice and even ’80s goth. Derivative, yes, but it’s still impressive for a group that had barely been together a year (and were barely old enough to drink), and you can hear what got Drop Nineteens signed in these tracks. Their way with melody and dynamics was already peaking through the murk and reverb on “Mayfield,” “Another Summer,” and “Song for JJ.” For Drop Nineteens fans, 1991 is essential, a lost album from a time when fandom and bandom were interchangeable.

1991 by Drop Nineteens

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Guided By Voices – Universe Room (GBV Inc)
Robert Pollard and crew get a little weird on their 41st album

Did you know that the current lineup of Guided by Voices — Robert Pollard, Doug Gillard, Kevin March, Mark Shue and Bobby Bare Jr — is the longest lasting ever at nine years and counting? It’s true, and there’s also an argument to made that it’s also the best. GBV have been on an insane hot-streak for the last five years especially, with albums that realized Robert Pollard’s teenage arena rock dreams with great performances and production to go along with his anthemic songs. Following last year’s great There’s Nowhere to Go But Up, which was their 40th album (!), Pollard is purposefully switching things up and stretching his bandmates’ wings with Universe Room.

“I wanted to create, hopefully, an experience, kind of a wild ride, where the listener would want to hear it multiple times in order to grasp all the sections and fields of sound to discover something new with each listen,” Bob says. “I trimmed down the songs so that there wasn’t a lot of repetition, so you get a lot of sections that happen only once or twice.” Trimmed down is right, Universe Room‘s 17 songs clock in at a lean 40 minutes, and sonics are purposefully more toward their ’90s lo-fi heyday. (Also: Pollard gave individual members of the band free reign on a song each, creating the backing tracks without his input.) It all makes for the weirdest, most all-over-the-place GBV record in recent memory, yet the Robert Pollard Earworm factory is still working around the clock and these little songs are packed with hooks, cool riffs and catchy choruses — even if they are obscured by design. Think of this one as a palate cleanser for whatever’s coming next (and probably coming sooner than we think).

Universe Room by Guided By Voices

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The Moles – Composition Book (Splendid Research)
The first album in nine years from Richard Davies’ long-running group also comes via Robert Pollard’s recently launched label

While we’re talking about the Robert Pollard Cinematic Universe, here’s a new album from The Moles, the long-running project of Australian singer-songwriter Richard Davies who made an album with Bob under the name Cosmos back in 2009. (You might also know Davies from Cardinal, his chamber pop collaboration with Eric Matthews.) When The Moles were more of a band back in the late-’80s and early ’90s, they were firing on all cylinders (see further down for more on that); as a solo project, though, The Moles and Davies have been more hit and miss. Composition Book, the first Moles album in nine years and first for Pollard’s recently launched Splendid Research label, is the best record he’s made in ages. (Yes it’s also the only record he’s made in ages.) It’s still a bit scattershot, but Davies mostly has his act together here with a few terrific songs (“Since I Don’t Know When,” “Had to Be You,”  “Chimes”) and clever mid-fi production (dig the water sprinkler backbeat on “Rattlesnakes, Vampires, Horse Tribes and Rocket Science”) that lie among a few fun but half-baked trad blues/rock workouts. If you need a second opinion, Robert Pollard says, “Richard Davies is one of the last great songwriters on planet Earth. Every song on Composition Book is up there with his finest and so it’s no small feat that after 35 years of making beautiful records, this one is his best.” Who am I to argue with the man who wrote “Game of Pricks”?

Composition Book by The Moles

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Heartworms – Glutton For Punishment (Speedy Wunderground)
The debut album by UK neo-goths Heartworms sounds like a million bucks

When Jojo Orme formed Heartworms a few years back, she clearly had the project’s whole aesthetic worked out: a sleek, obsidian update on gothy, high-drama postpunk with her love of military history baked into everything. Orme soon was taken under the wing of producer and Speedy Wunderground founder Dan Carey who helped her bring her vision to eye-popping, silver gelatin black and white glory. After a few years of singles, EPs and a US tour supporting The Kills, Heartworms have delivered their debut album and one thing’s for sure: it sounds fantastic. This is ambitious, widescreen stuff and Orme and Carey have crammed every corner of these nine songs with wonderful sonic details. Vintage synths and rhythm boxes are paired with organic instruments, real drums, a variety of percussion gadgets, and, on “Warplane,” a full chorus of singers. Like any goth record worth its mascara, the basslines are lithe, slinky and carry the melody. Orme and her versatile, acrobatic vocal chords are the real stars — she effortlessly slides between whisper, wail, and all points in-between — and they bring that heightened sense of drama and romance you really need to sell creations like “Celebrate,” “Mad Catch,” and the somewhat understated title track. Also like a lot of goth records, it can be a lot but Glutton for Punishment flies in at a trim 37 minutes, never overstaying its welcome.

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Adwaith – Solas (Libertino Records)
The third album from this Welsh trio is a major level up

When last we heard from Welsh trio Adwaith, on 2022’s Bato Mato, they were making scrappy, hazy post-punk sung in their native tongue that found them punching above their weight. These three clearly had bigger ambitions, though. Here’s their third album, Solas (a celtic word that means “enlightenment”), a sprawling, gleaming, 23-song, 78-minute double album that runs the gamut from proggy space rock, widescreen alt-rock, indie dance pop and more, all still sung in the Welsh national language of Cymraeg. It’s apparently the first double album from an all-female Welsh group, so cheers to that!

“There were a few people who said, it shouldn’t be a double album – people are not going to care, it’ll be too long,” bassist/keyboardist Gwenllian Anthony told The Guardian. “And we were just like, nope, it’s going to be a double album. The older we get, we just want to make stuff that we want to do and we want to release music without having to compromise.” I would also argue that Solas is in fact too long — there are very few doubles that aren’t — but you have to admire their conviction, ambition and moxie, not to mention talent. You are probably streaming this and if you approach it as two albums, or even sides of a double album, listening in 20-minute chunks, the hit count is quite high and even with the wide variety of styles, it somehow all sounds like the same band, the same album. The language barrier isn’t really an issue, either, as their voices, singing with Welsh’s consonant-heavy syllables that roll around the tongue, just add to the otherworldly allure of this level-up of a record.

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HORSEBATH – Another Farewell (Strolling Bones)
Like music that’s country-ish but not full-on country? This Montreal band has an album for you.

Montreal’s HORSEBATH are a country band…sort of. They use pedal steel, sometimes wear cowboy hats and bolo ties, and their album covers favor Western iconography. And, of course, they’ve got “horse” in their name in all-caps. But musically, HORSEBATH are pretty far away from what’s going on in Nashville and in stadiums and arenas across North America currently. Their sound is warm, just a little twangy, a little soulful, anthemic and familiar, but there’s also a groovy sense of wide-eyed wonder, and a love of the cinematic. It’s western swing by way of ’70s AM radio, and a little modern dreampop seeps into songs like the gorgeous “In the Shade” that keeps things outside the retro pastiche corral. “We wanted to take an ego-less, music-first approach that features as many musical genres and influences as possible,” says the band’s Etienne Beausoleil. “I don’t think it can be categorized as a specific musical genre, but more as a feeling—of adventure, of the road, of beauty and heartbreak.” If you like things country-ish but not full-on country, these French Canadians do it right.

Another Farewell by HORSEBATH

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INDIE BASEMENT CLASSIC: The Moles – Untune the Sky (1992, Seaside)
Still the best thing Richard Davies has ever done

Led by Richard Davies, The Moles were originally from Sydney, Australia but their sonic roots were in New Zealand, with groups like The Chills, The Clean, and The Bats being a clear influence on their sound which ranged from jangly, mossy, organ-colored pop to dense-as-a-thicket noise. Following a string of singles, the band made Untune the Sky, their 1991 debut album (technically a mini album) which started to make big waves for them. But it was when their label, Seaside, re-released it in expanded form — with a rearranged tracklist and some tracks swapped out for their best non-LP songs — that the magic happened and got them noticed far beyond antipodean circles. Most importantly: the chiming “Bury Me Happy,” originally buried deep in Side 2, got moved forward to the album’s opening track which was a much more welcoming hello than drone-heavy “Wires” on the original release. Also added were janglepop gemg “Rebecca” and two warmly psychedelic songs,  “Breathe Me In” and “This Happy Garden,” which helped balance out more astringent numbers like “Wires” and “Tendrils and Paracetamol.” Somewhere in between is the chugging “Europe by Car” which is still my favorite Moles songs. Davies has gone on to make other good records, including the new Moles album (see above) but Untune the Sky remains the band’s high water mark.

Looking for more? Browse the Indie Basement archives.

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Top 20 Shoegaze EPs of the Early-’90s

20. Bleach – Snag (1991, Way Cool Records)

Formed by brothers Neil and Nick Singleton, Ipswich, UK's Bleach unfortunately ran out of songwriting steam before they released their first album. (Hey, it happens, just ask Elastica.) The band managed to deliver one terrific EP that showcased their moody style, with guitarist Neil providing the haze and bassist Nick providing the mood. Like a lot of shoegaze groups of this era, singer Salli Carson's ethereal vocals seemed more like an equal element of Bleached's sound, as opposed to a focal point. "Bethesda," with its tom-heavy drumming is especially good, as is "Dipping." Extended listening: the cover art is the most distinctive thing about Bleach's 1992 album Killing Time, but it's the only one of their releases on streaming services.

19. Medicine – 5ive (1993, Creation)

Led by Brad Laner, who spent time in the '80s in L.A. cult post-punk band Savage Republic, Medicine were arguably the U.S.'s best shoegaze band, with a firm grip on melody, noise and dynamics, and they weren't afraid of sampling or dance culture. They also had rare bonafides for an American band; they were signed to Creation in the UK. (Rick Rubin's American Recordings put out their records at home.) The 5ive EP, also known as Come Here to Drink Milk, takes the tremolo-heavy title track (originally on their debut album) and pairs it with the ragged version of "Time Baby" (not the version with Liz Fraser & Robin Guthrie), searing slow jam "Lime 6," and the quasi-industrial "Wrought." Extended listening: The Sounds of Medicine EP has the Cocteau-ized version of "Time Baby" from The Crow soundtrack, plus "stripped and reformed" versions of other songs, but the 1993 sophomore album The Buried Life is Medicine at their best.

18. The Telescopes – Flying (1991, Creation)

Having got their start in the mid-'80s, The Telescopes predate shoegaze but were part of the dark neo-psych scene that included Spacemen 3 and Loop (who they shared a split 7" with in 1988). By their fourth EP for Creation, 1990's Flying, The Telescopes had blasted off most of the white noise in favor of groovy psychedelia that put them somewhere between The Stone Roses and Ride, but frontman Stephen Lawrie was always on his own sonic plane. With layers of 12-string guitars -- acoustic and electric -- Flying's title track is one of their best pop songs, while "High on Fire" heads deep into outer space and "The Sleepwalk" showed they could confidently compete with their Creation labelmates that were getting much more ink in NME. Extended listening: 1990's Celeste EP features an amazing 10-minute version of the title track that's worth the price of admission.

17. Blind Mr. Jones – Eyes Wide (1992, Cherry Red)

Their fondness of flute gave Blind Mr. Jones the reputation of being the shoegaze Jethro Tull, but this band from Marlow, UK were one of the more underrated groups of the era, with a distinctively British sound, a decided goth streak, and consistently memorable, melodic (New Order-esque) bass lines. There are no wind instruments on the Eyes Wide EP but it does feature Slowdive's Neil Halstead who gifts the record with some of his transcendent guitar cloud cover. All four songs are terrific. Is your favorite Ride song "Decay" from Nowhere? You should definitely investigate Blind Mr. Jones further. Extended listening: Compilation Over My Head collects everything Blind Mr. Jones recorded, including the Crazy Jazz EP that featured Radiohead's Jonny Greenwood.

16. Adorable – Sunshine Smile (1992, Creation)

While they owed more to Echo & the Bunnymen or House of Love than My Bloody Valentine or Ride, Adorable were signed to Creation Records, peppered their very catchy songs with guitar noise and got not entirely unfairly lumped in with the shoegaze scene...even if frontman Peter Fijalkowski bristled at the word in interviews. One thing's for sure: "Sunshine Smile" was a hell of an introduction that sounds like its title, a wonderful guitar-drenched pop song with a slinky slowburn intro that gives way to a massive guitar riff chorus. The two b-sides -- melancholy-drenched ballad "A to Fade In" and the Madchester-leaning "Sunburnt" -- are great, too, as is the cover art which uses imagery from The Passion of Joan of Arc. Extended listening: The Sistine Chapel Ceiling EP takes its title track from Adorable's debut album, Against Perfection, and adds three good b-sides, especially "Everything's Fine."

15. Catherine Wheel – 30th Century Man (1992, Fontana)

Released in the last week of 1992, this limited edition EP was a step up, sonically, for Catherine Wheel who had never sounded so confident and powerful, giving fans a taste of what they might get with 1993's Chrome. This is probably a controversial pick, given that three of the four songs here are covers, but Catherine Wheel seriously deliver the goods with these killer takes on Scott Walker's "30th Century Man," Husker Du's "Don't Wanna Know if You Are Lonely" and Mission of Burma's "That's When I Reach for My Revolver." Their cover of "30th Century Man" is particularly inspired, while the other two merely rip (while they make them their own). The EP's original, "Free of Mind," is great too. Extended listening: If you just want great Catherine Wheel songs, the Black Metallic EP has four of them, including the title track which was a Modern Rock Radio hit in the U.S.

14. Kitchens of Distinction – Drive That Fast (1990, One Little Indian)

Kitchens of Distinction would probably be classified as dreampop these days; Julian Swales was up there with Robin Guthrie and Neil Halstead for being able to coax out gorgeous waterfalls of sound from his guitar, but bassist/frontman Patrick Fitzgerald was a confident frontman who had a lot to say. (They were probably closer to The Sound or The Chameleons than to Ride or Lush.) Released as a precursor to their second album, Strange Free World, "Drive That Fast" is one of KoD's best-ever singles and the EP's other tracks are all good, with the dark, boozy "These Drinkers" and a piano rendition of single "Elephantine" being standouts. Runner up: The Elephantine EP has the full-on swirling version of the title track, plus three worthy other tracks.

13. Lilys – A Brief History of Amazing Letdowns (1993, spinART)

Kurt Heasley has reinvented Lilys a few times over the last 30 years, but the group began as noisy indie rockers who pulled equally from late-'80s Creation Records and Dinosaur Jr's freak scene. This wonderfully titled EP has some of Lilys' catchiest songs, including "Ginger" (which inexplicably ended up getting used in a 2007 Cadillac commercial), "Any Place I've Lived" and "Jenny, Andrew and Me." It's one of their best releases and, sadly, also one of the rarest...out of print, not on streaming services, and used copies are hard to come by. Extended listening: Lilys' debut single, "February Fourteenth," is a real ripper.

12. Verve – All in the Mind (1992, Hut)

Before they became Britpop stars with “Bittersweet Symphony” and “Sonnet,” The Verve were just Verve (they had to add the "The" after legal threats from Verve Records), a band from Wigan, England who made out-there, super-groovy psych rock. The group pretty much disowned the title track of their debut EP moments after releasing it, but what do they know? “All in the Mind” is a propulsive space-hopper jam that really shows off Nick McCabe’s incendiary fretwork, Simon Jones’ deeply melodic bass, and the indispensable, jazzy style of drummer Peter Salisbury. The other two tracks -- the beautiful “One Way to Go” (featuring a great vocal from Richard Ashcroft) and dreamy “A Man Called Sun” -- are more indicative of where The Verve would go on their debut album, A Storm in Heaven. Extended listening: The Verve E.P. was the band's introduction to the U.S., taking tracks from their first three singles/EPs, including "A Man Called Sun," and edits of their tripped-out A-sides "Gravity Grave" and "She's a Superstar."

11. Swervedriver – Duel (1993, Creation)

Another band who got better when they burned off some of that haze, Swervedriver made a massive leap between their first album, Raise, and their second, Mezcal Head. A big part of that was a new lineup of the band -- which included a much-improved rhythm section of drummer Jez Hindmarsh and bassist Steve George -- that could really rip. But it was also better songs and more muscular production courtesy producer Alan Moulder who was very busy in the early '90s. (He probably worked on half the records in this list.) The soaring, roaring "Duel," arguably the album's finest moment, is backed with two killer B's: the majestic "Planes Over the Skyline," and starry eyed "Year of the Girl," both of which have Jez going full Keith Moon. Extended listening: Standalone single "Never Lose That Feeling," which would be tacked-on the U.S. edition of Mezcal Head, was actually the last record the original lineup of the band made. The EP version melts into the dubby "Never Learn," making for a very worthy 11 minutes.

10. Chapterhouse – Mesmerise (1991, Dedicated)

In the UK, there was a lot of cross-pollination between shoegaze, acid house and the Manchester scene, and few groups pulled all those together as successfully as Chapterhouse. Coming just a few months after releasing their debut album, Whirlpool, the four-song Mesmerise EP -- which is is sometimes listed as a single -- features two great examples of their blissed-out style: the title track, which blasts out thick waves of synthesizers against a piano hook, was as much a Madchester anthem as anything else; while “Precious One” rides a bongo-fueled groove. There’s also the swirling, ambient “Summer Chill” and the windswept guitar haze of “Then We’ll Rise.” Extended listening: 1990’s Freefall EP falls a little more into space rock territory, but “Falling Down” -- which uses The Soul Searchers’ "Ashley’s Roachclip" drum break sample heard in Eric B & Rakim’s “Paid in Full,” Milli Vanilli's “Girl You Know it’s True” (and on many, many, many other records) -- pointed to the direction they would soon be heading.

9. Curve – Blindfold (1991, Anxious)

Curve were an interesting group, as both Toni Halliday and Dean Garcia had been around for a while in the industry; Dean was a live member of The Eurythmics in the early-’80s, and they were both in short-lived ‘80s band State of Play, who made one record and then broke up. Dean played on Toni’s 1989 solo album, and then they decided to take another whack at a group, perhaps taking My Bloody Valentine’s “Soon” as an influence, mixing hazy guitars with dance music. With Halliday’s powerful pipes it was an alluring combination. Alan Moulder, who they’d worked with in State of Play and on Halliday’s solo album -- and who was THE shoegaze engineer -- was the de facto third member of the group. Curve released three EPs in 1991, all of which are great but the first, Blindfold, is the best with the seductive single "Ten Little Girls"  featuring something no other record on this list has: rapping. Extended listening: Curve’s second EP, Frozen, is also killer, featuring “Coast is Clear” -- one of their best-ever tracks. All three of their 1991 EPs were collected onto the Public Fruit album.

8. Velocity Girl – Velocity Girl (1993, Slumberland)

While mainly known for its influential punk scene, Washington DC also had a thriving indie rock scene in the late '80s and early-'90s that was heavily influenced by the UK's C-86 scene and labels like Creation, Cherry Red and 4AD. Velocity Girl, in fact, were named for Primal Scream's song on C-86, and played a similar style of very fuzzy janglepop. The group included former Black Tambourine member Archie Moore and, originally, Bridget Cross who, when she left to focus on Unrest, would be replaced by vocalist Sarah Shannon. The band's gift for melody, and love of shambolic, noisy guitars, is evident on this EP that collects songs from three early 7"s. "My Forgotten Favorite," which would turn up a few years later on the Clueless soundtrack, is the obvious standout (and arguably VG's best song), but the other five songs are equally stellar. Extended listening: Velocity Girl were more fond of 7"s than EPs, but their 1993 debut Copacetic (released, like all their albums, on Sub Pop) has held up well, and gotten better with age.

7. Ride – Today Forever (1991, Creation)

Released just a few months after their debut album Nowhere, the Today Forever EP takes Ride out of the hazy murk and into cleaner production without sacrificing their signature swirl. The EP also shows a growing confidence in songwriting and arrangements, like with the powerful, deliberate “Sennen.” Today Forever was never released in the U.S., and is unknown still to a lot of fans, though three of its four tracks found their way onto the American "Vapour Trail" CD maxi-single...but it leaves off one of Ride’s prettiest songs ever, “Today.” Extended listening: Ride’s 1989 debut EP contains classics “Chelsea Girl” and “Drive Blind.”

6. The Boo Radleys – Lazarus (1992, Creation)

Like a number of shoegaze bands, The Boo Radleys spent a couple years hiding their musical skill and good songwriting behind a wall of MBV-inspired noise. This resulted in some great music but when they came out of their shell, they got even better. Released not long after their wilfully dissonant Everything’s Alright Forever LP, the Lazarus EP felt a bit like seeing the band with a new pair of glasses. The signs had been there all along for The Boo Radleys, but all four songs here are a step up in every way. “Lazarus” would show up on 1993’s Giant Steps, but without the long, dubby EP intro that pays off so well when the song roars into focus. It's also amazing they'd delegate songs as good as "Petroleum" and "At the Sound of Speed" to b-side material. Extended listening: 1991’s Every Heaven EP is pretty fantastic with a nice balance of melody and roar, and has one of the Boos’ best-ever songs, “The Finest Kiss.”

5. Slowdive – Holding Our Breath (1991, Creation)

While clearly influenced by the Cocteau Twins' shimmering style, Slowdive didn’t really sound like any other group from the original shoegaze era, with an oceanic guitar swell that remains unique and mysterious. “Catch the Breeze,” which would also show up on their 1991 debut album, Just for a Day, is an all-time classic but the rest of this EP is just as captivating. Rachel Goswell’s ethereal harmonies on “Shine” will never not send shivers down your spine, and their cover of Syd Barrett's "Golden Hair" is rather titanic. Extended listening: Slowdive’s debut EP, Morningrise, nods to the band’s ‘80s goth youth while pointing toward the direction they’d soon head.

4. Moose – Jack (1991, Hut)

If it wasn't for Moose, this list might have to be called something slightly different, as the word "shoegaze" was first used in a Sounds review of one of their early gigs. That is probably enough to warrant an inclusion here, but luckily Moose were a great band who carved out a distinct corner in The Scene That Celebrates Itself. Their first of three 1991 EPs, Jack, was as dissonant as they got, but underneath the bandsaw guitars were melodies rooted in a classic songwriting style that owed as much to Burt Bacharach as the Velvet Underground. That would bubble up to the surface more as the band progressed, but you can hear it on both "Ballad Of Adam & Eve" and "Boy." The EP kicks off with the awesomely drony title track, and wraps with moody ballad "I'll Take Tomorrow." Extended listening: By the release of their third 1991 EP, Reprise, they were already halfway to the breezier style they'd adopt for XYZ and subsequent albums, and it features the gorgeous, country-ish ballad "This River Never Will Run Dry." Songs from Moose's early EPs were cherry-picked for the Sonny and Sam EP, the only record Moose ever got released in America. Criminally underrated, I

3. Pale Saints – Flesh Balloon (1991, 4AD)

In between their first and second albums, Pale Saints added singer-songwriter-guitarist Meriel Barham to their lineup, changing the dynamic of the group for the better. She made her debut on this EP, singing lead on a playful, dreamy cover of Nancy Sinatra's "Kinky Love." The whole EP is fab, though, with the sprawling, dramatic "Hunted" -- which would show up on second album In Ribbons -- and is one of the best examples of the group's unique mix of beauty and noise. There's also a demo of "Hair Shoes," which shows up in full studio version on In Ribbons, but the real standout here is spectacular instrumental "Porpoise." Extended listening: 1990's Half-Life Remembered is pretty great too, especially "Half Life" which toys with Madchester beats. The title track is great.

2. Lush – Mad Love (1990, 4AD)

Cocteau Twins’ Robin Guthrie was behind the boards for this four song 12” that remains the perfect distillation of everything Lush did so well. Quintessential Lush song “De-Luxe” leads the EP that also includes the equally wonderful dreampop track "Thoughtforms" both of which feature Miki Berenyi and Emma Anderson's signature guitar and vocal interplay. plus great minor chord slashers “Leaves Me Cold” and “Downer.” Lush made many great records during their brief run, but if you can only have one, make it this. Extended listening: Lush’s debut, the six-song Scar mini-LP is excellent too, if a little rough around the edges. You don’t have to choose, either: Gala compiles Mad Love and Scar, plus a couple other tracks, on one album. It's also hard to argue with picking up Ciao! Best Of Lush which includes their dabblings in Britpop (like the title track which was a duet between Miki and Jarvis Cocker).

1. My Bloody Valentine – Tremolo (1991, Creation)

While My Bloody Valentine’s 1990 Glider EP features their danceable classic “Soon,” the 1991 Tremolo EP has an overall higher hit-count, and sees Kevin Shields and the rest of the band continuing to break new ground. Tremolo features the swirling, transportive “To Here Knows When,” the beautiful “Swallow,” glide guitar ripper “Honey Power” and the churning, Brian Wilson-esque “Moon Song.” Nearly 30 years later, listening to this dazzling EP's four songs will have you wondering "How did they make this?" and "are my stereo speakers functioning properly?" A must-own companion to Loveless. Extended listening: Then again, Glider does have “Soon.” Get them both!