Moose-Sonny and Sam (1991)

Imprescindible recopilatorio de los tres primeros Ep´s de esta banda inglesa.Inicialmente enmarcados dentro del movimiento "shoegazer" pronto lo abandonarían,convirtiéndose en una excelente banda de pop.
Cabe destacar temas como "Suzanne" o "Jack" que se erigen por derecho propio en clásicos del indie de principio de los 90,aunque otros como "This river will never run dry" se asemejan más al estilo con el que continuarían su carrera en discos como "Honey Bee" o "Live a Little ,love a Lot".¡A disfrutarlo!

Sobre Moose,Allmusic dice:"Not so much underrated as unheard, Moose grew up in Britain's distortion-heavy shoegazing movement of the early '90s but soon shed the fuzzy wash of their compatriots to embrace a clean, acoustic-based style -- inspired by '60s icons Burt Bacharach and Tim Buckley as well as jangle merchants like the Byrds and R.E.M. -- that still relied on the intense guitar effects which characterized the band's early works. Moose was formed in early 1990 by the songwriting team of Kevin (K.J.) McKillop and Russell Yates (Yates had appeared in an early incarnation of Stereolab), plus drummer Damien Warburton and bassist Jeremy Tishler. The group signed to Hut Records (also the British home of Smashing Pumpkins and the Verve) in 1990, and began recording with producer Guy Fixsen (later of Laika).

After the release of three EPs during 1991, both Warburton and Tishler left the band; Moose then added drummer Richard Thomas and the brothers Fong, Lincoln on bass and Russell on guitar and sometime production. Hut Records had just formed an alliance with the major label Virgin, which condensed Moose's past material onto a seven-track EP, Sonny and Sam. (It served as an American primer for the band, but proved to be their only major-label stateside release.) Hut financed a full-length album, ...XYZ, in 1992 and recruited Mitch Easter for production and Dolores O'Riordon of the Cranberries for harmony vocals on one track. The album sold poorly, however, and Hut dropped the band by early 1993. Not fazed in the least, Moose came back with the Liquid Make Up EP for their own Cool Badge label. Its leadoff track, "I Wanted to See You to See if I Wanted You," was a charming piece of pop, their best single yet. Signed to Belgium's Play It Again Sam Records, the band released their second album, Honey Bee, in early 1994. It wisely included a different version of "I Wanted to See You to See if I Wanted You," but Moose appeared to be verging on overkill with yet another carbon-copy version included on the Bang Bang EP several months later. Perhaps signalling a stall in creativity, third album Live a Little, Love a Lot was released with no attaching single, though the Cocteau Twins' Liz Fraser did lend her vocals to one track. Four years later, Moose reappeared with an album (High Ball Me!) released on the English Nickel and Dimes as well as on the American Le Grand Magistery."

Bowery Electric-Beat (1996)

El seguno disco del duo neoyorkino se caracteriza por un acercamiento a los ritmos electrónicos a los que se lanzarían totalmente en su siguiente disco.En un principio puede resultar algo monocorde pero una vez que te introduces en él es totalmente adictivo.
No es un trabajo inmediato pero el esfuerzo merece la pena.

Allmusic dice:"Somewhat bizarrely, Beat received a large amount of critical buzz over its supposedly groundbreaking fusion of hip-hop/techno rhythms and the band's older dream pop stylings. Anyone who had heard Loveless-era My Bloody Valentine or a fair amount of Chapterhouse's material probably had some things to say about that judgment, while in turn many dance mavens saw the band's efforts as already terribly outdated in terms of general sonic approach. Set all this aside and concentrate on enjoying Beat in and of itself, though, and the fine qualities of both group and album come through quite clearly. Bowery Electric may not be on the cutting edge, but Schwendener and Chandler aren't pretending to dwell there. The title track sets the album's tone from the start, an open-ended guitar drone from Chandler later accompanied by Schwendener's low-key bass and distanced singing matched with a crisp drum loop. Variations on this basic formula throughout Beat: slight rhythms are sometimes more prominent, sometimes buried, guitar lines are clearer here or more heavily produced there -- but taken as a whole the release is quietly intoxicating. Standouts include "Fear of Flying," with a strong guitar scream/wash from Chandler and a more upfront bass/drum combination, and the thoroughly but beautifully zoned out "Black Light," which features a rare Chandler vocal and an enveloping delay-pedal-produced atmosphere. Notably, the drumming on the latter track is more in line with, say, early Pink Floyd or Slowdive rather than the loops used elsewhere. Both performers are incredibly undemonstrative throughout the album -- Beat works best as something either totally concentrated on or left running as ambient music; a party record this isn't. At times Bowery Electric eschew percussion entirely, to lovely effect: "Under the Sun" is a brief but dark piece, a low bassline providing the only forward motion." by Ned Ragget