Back catalogue: All genres

Review: A great choice by Music On Vinyl - whom at this point have proven their mettle at sating the desires of almost any type of past music enjoyer - Chapterhouse's 'Whirlpool' is the debut studio album by the English shoegaze band, and thoroughly deserves this case of retrospection. In just nine tracks, the quartet of Andrew Sheriff, Stephen Patman, Simon Rowe and Ashley Bates established a hugely maximal sound, stylistically nailing the form by pairing its vacuuming vocal washes with more propulsive, hard-limited mixes and masters, informed by industrial and dance music most notably. Contemporaries of similarly tersely-named bands like Lush, Moose, Ride and Curve, Chapterhouse were indeed the most multi-syllabic, not to mention least restrained band out at the time; standouts 'Pearl', 'Autosleeper' and 'Falling Down' nailed the explosion of '90s indie ferment and the overflow of emotions that came with the decade.

Review: 'Pearl' is the headsier shoegaze fan's classic of choice, and it's all thanks to Chapterhouse's lack of fear in incorporating hard industrial elements to their squeeze-waxen, sunsoaked dream pop sound. The original single-EP for 'Pearl' consisted of three hip-hop-tempo electronic shoegaze songs, and had a brightness to them that could only be rivalled by their contemporaries Lush or Ride. This reissue comes to translucent yellow vinyl, much like the colour of refracted light off moths' wings or duneside beach water.

Review: Australian alternative rock band The Church put out their sixth studio album in 1990. It's best known for the breakout rock hit 'Metropolis' and performed commercially well overall after the successes of 1988 hit album Starfish, Gold Afternoon Fix . An interesting nugget for fact fans is that this album is their first of the band's not to feature a 12 string guitar as Marty Wilson-Piper's instrument got stolen on a previous tour. The subtle change in sound didn't derail the band and they continued to pick up more and more fans for their lilting grooves and lyrical subjects such as love, loss and plenty in between. The band were induced into the ARIA Hall of Fame in 2010.

Review: It's 1993 and everything is different from today. But one thing that has remained constant between then and now is the sublime work presented on this, the second studio album from English troupe Cranes. Stopping well short of becoming overblown, while confident enough to break through the restraints that can often make music like this feel inauthentic, the Portsmouth-formed outfit hit the nail on the head when it came to the emerging dream pop scene at the time this was released. Then they flipped expectations on their head. So while numbers like 'Cloudless' and 'Far Away' effortlessly create opiate atmospheres, making listeners feel like they're cruising into the stratosphere, not a care in the world, there's plenty to drag you back down to the grit and grime of Earth, too. 'Clear', 'Sun & Sky' and 'Adrift' all take us to places close to garage rock, only with added density and an air of the cinematic.

Review: Cuckoo was their second full length from Curve - Toni Halliday on vocals and guitar with Dean Garcia - and saw its release in 1993. This album was heavier, focused and featured stronger, more aggressive rhythms that evolved from their first album. Heavily influenced by bombastic urban and electronic beats but favouring shoegaze effects on the guitars, making for a unique combination that made Cuckoo stand out from the rest, ultimately predating similar sounds from bands like Garbage. This album holds key tracks like the amazing 'Men Are From Mars, Women Are From Venus' as well as the singles 'Missing Link' and 'Super Blaster'. The effects of Curve are still being felt today by those who discover them and fans of the producer Flood should definitely be aware of this album if they are not already. This reissue comes on limited numbered 180- Gram pink & purple vinyl LP complete with an insert.

Review: Curve are best known among music lovers as one of the few English 90s bands to span the cross-section of industrial dance music and shoegaze and to bring that sound to the alt-mainstream. Their debut studio album, Doppelganger, was the splash album that defined this sound; a maximal, euphoric statement in walls of crunching chords-n'-drums from Dean Garcia and a set of barely-skating-the-mix vocals from Toni Halliday. Purely noisy, cathartic and determined in its slice of style, the likes of 'Lillies Dying', 'Split Into Fractions', and 'Ice That Melts The Tips' all evoke sonic seances of the wildest kind, as if each calling out to some extradimensional, omniscient beast.