why can't primal scream do a record with songs like this one? organ drenched with girls chanting ye-ye-yeah! dance 'til you drop! some might say that primal scream peaked with screamadelica, i say hell no! even if screamadelica is a great record, possibly one of the hundred best albums from the last century...

Hell, I could have picked almost anything from the back catalogue of this band. Albatross is the stand-out track of an outstanding 4 track EP (entitled Holding our Breath) from early ’90s shoegazers Slowdive. Bemoaned, decried and hated by Britain’s Britpop-loving press, Slowdive’s beautiful multi-layered sound has latterly found a kindred spirit in much lauded post-rockers Sigur Ros. So maybe they were right after all…

Back to Reading – and there is no stronger example of the Thames Valley sound than Albatross. Layer upon layer of minor chords – almost symphonic in their beauty – Albatross swells to a powerful crescendo of highly processed guitars. Non-believers should check out double A-sides Catch the Breeze and Shine. The fourth track on the rather grand EP is a cover of Syd Barrett's (former lead singer of Pink Floyd) Golden Hair. Utterly remarkable.

Considering how much I like this track, I'm surpised I didn't recommend it earlier. To me this is the standout from the band's seminal 1991 album 'Loveless'. To MBV fans, this track might seem an obvious one to recommend, but I think it sums up their appeal very well, with its beautiful ambient noises and simple but catchy melody. MBV's trademark use of weird echoey effects on the vocals and guitars is in full effect, and it's quite beautiful.

However you look at it, this song is simply too good to have not yet been recommended by me on this site. The final track on Ride's 1991 debut, this is simple, formulaic even, but very nicely executed. It opens with the same nice chord sequence that makes up most of the song, played on a solo guitar. Mark Gardner's vocals are wavering and delicate (ok, they're a little out of tune as well), but charming. The drum beat hints at the indie-dance sensibility of the time, and is extremely catchy without being ridiculous.

The real hook of the song for me lies in the harmonies introduced by the string parts which periodically underlay the chords. As the song builds, these string arrangements become more full. The rest of the band fades away and leaves them at the end. I'm surprised at how much I still enjoy this.

Ok. This one came outa the closet for a little spin. Love this... One of the few records in the Creation catalog that no one talks about, let alone knows of. I think it slipped under the radar for a few reasons. For one, it sounds like almost nothing else on the label at the time. To me it sounds like a cross between Shellyan Orphan & New Order... Maybe with a little Housemartins at times. Super smooth symphonic electro with boy-girl vocals, and maudlin lyrics with super-anglo underpinnings (with a japanese spoken word bit as well!). To me it seems like the whole thing should have come out on Factory Records in like 84', then it would have been noticed a bit more. Even the cover makes it look like a Durutti Column release.

If you are a fan of the aforementioned seek out a copy before they are all gone.