Back catalogue: Indie/Alternative

Review: 30 years on, Slanted & Enchanted hasn't lost any of its power and potency. Stephen Malkmus formed Pavement in 1989 but it took a few years to get their debut album down. It marked their move from Drag City to Matador, and its wide circulation ahead of release built up the anticipation and ensured Pavement arrived with a splash. Comparisons and the The Fall and Swell Maps aren't without merit, but with the passing of time they become stretched given how influential Malkmus and co. wound up being on the explosion of indie rock in the 90s. Quite simply a perfect record, lovingly repressed for your listening pleasure.

Review: The work of Mike Hadreas has divided opinion up until this point, with observers being equally awestruck by his ornate and grandiose pop and slightly overwhelmed by it - however, 'No Shape' would appear to be the point at which all must acknowledge that this maverick is now operating at the absolute peak of his powers, and sculpting works of cinematic splendour that balance out tenderness of delivery and gloriously widescreen sweep. Lush orchestration marries with Hadreas' emotionally engaging croon and endlessly inventive arrangements to arrive at something both touching and transcendent.

Review: You'll probably struggle to find an album that opens with two more contrasting tracks than the fifth long form effort from Mike Hadreas. Re-teaming with GRAMMY-nominated production talent Blake Mills, with the pair inviting a host of guest collaborators to help on this record (Jim Keltner, Pino Palladino to name but two), the record begins with the peaceful, reflective and hymn-like 'Whole Life', a classic slice of rock croonerdom, before the scuzzy guitars of 'Describe' drop in like juggernauts. Elsewhere, you have the proto-pop of 'On The Floor', a track heyday Cyndi Lauper would have been happy to call her own, and the haunting slow dance of 'One More Try', offering yet more shades of grey which, combined, create a complete picture of a man, or indeed men, in the 21st Century. Rebellious, tender, caring, carefree and deeply complex. Definitely one that will keep you exploring long after first pressing play.

Review: Perfume Genius aka Mike Hadreas wrote this music choreographer Kate Wallich's immersive dance piece The Sun Still Burns Here at the request of the Seattle Theatre Group. The show was performed across America and captures the euphoria of the dance floor in elegant fashion. Now the full suite of sounds from the show make it on to this record with GRAMMY-winning producer and long-time collaborator Blake Mills co-producing with Hadreas. It's a world of dramatic synths, delicate percussion and swirling rhythms.

Review: Matador Records top up their ongoing catalogue series Revisionist History - a series of reissues of the label's most esteemed albums, which "people tend to presume is our cheeky way of re-writing Matador's storied past to make it even more (ahem) storied" - with a new version of The New Romance by Pretty Girls Make Graves. Formed in Seattle in 2001, PGMG came together in the fallout of the breakup of a dozen other Seattle scene bands, and amounted to an intelligent and distinctively electric take on the post-punk they knew and loved. The second LP to their debut Good Health, The New Romance was anthemic in comparison to their debut's relative rawness, working in crossrhythmic guitar and synth arpeggios touching on minimalism, which formed a neat counterpart to the ostensibly screamy punk statement heard throughout.