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Review: It could have all been so different when Death In Vegas first formed. Richard Fearless and Steve Hellier spawned the project in 1994 and got signed under the name Dead Elvis, but legal wrangling got in the way and they used the name for their debut album instead. Now Music On Vinyl have repressed the 1997 classic so we can revel in the grizzled take on big beat and trip hop the pair cooked up. It's very much of its time, but there's a snarl to the production which sets Death In Vegas apart from their peers at the time, opting for the dive bar ambience over the festival main stage you'd hear when playing The Chemical Brothers or Leftfield. For that reason Dead Elvis has aged very well indeed.

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: 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.