If not progenitors of noise pop as we now know it, then certainly there at the outset, Black Tambourine were formed in 1989 and dissolved in 1992. During their short lifespan the DC band recorded a handful of singles and comp appearances that have pretty consistently remained a name-drop touchstone (the original Complete Recordings released by Slumberland in 1999, and now this re-release of the same a little over a decade on from that, speak to their enduring appeal) all standing testament to the band's place in alternative/indie rock history (or perhaps the stagnation and inward-looking loop of that now multi-limbed catch-all?).BT were one of a number of bands bridging the gap betwixt mid 80s twee and the more aggressive tack of the burdgeoning Indie Rock scene of the time, and of course that middle-distance staring contest, shoegaze. If you look at early(ish) My Bloody Valentine singles 'The New Record By”¦' and 'Sunny Sunday Smile', the work of The Flatmates, Shop Assistants, early Primitives singles, obviously The Jesus And Mary Chain, etcetera (there are more, I have no doubt, but this is about as far as my knowledge extends), then you see BT as not existing in a vacuum. What perhaps speaks to their exemplar status is the reputation of singer Pam Berry, going on to feature in many cult US indiepop favourites over the 90s, the rest of the band who went on to create the equally name-droppable Velocity Girls, and Matt Schulmann who actually runs the mighty Slumberland record label.OK, enough of the history lesson. You probably either know the whole thing better than I, or you're about to go somewhere else and read in more depth than my brief outline goes into. This is basically a re-issue of the original Complete Recordings released by Slumberland in '99. Ten tracks of monochrome distortion and fuzz laying over twee pop songs, with a Phil Spector methodology behind it all. Except that there are 4 newly recorded tracks and 2 demos added on the end. Of the 4 new tracks two are covers, 'Heartbeat' is the iconic Buddy Holly track. The band play it in their usual style, thwoping drum, bouncy bass, abrasive guitar noise, with the nice little affectation of a cowbell. The other cover is 'Dream Baby Dream' by leg-endary synth punkers Suicide. A nice cover where the guitar is toned down to an atmospheric role as the bass leads the repetitious simple melody, a glockenspiel adds a lighter tinkling, an accordion brings a slightly odder texture as Berry breathlessly recites the lyrics. The two new compositions 'Lazy Heart' and 'Tears Of Joy', resurrects the sound of the band's earlier days, and continues the theme of using a slightly broader set of materials found in the cover songs. 'Lazy Heart' features hand-claps and glockenspiel, and is pretty much a winner with it's fun chorus. 'Tears Of Joy' is a faster blast that's somewhat reminiscent of a band in the post-punky LiLiput/Kleenex role. Rounding off the added on material are two demo versions of songs found on the complete recordings. 'For Ex-Lovers Only' and 'Throw Aggi Off The Bridge' feature a distinctive tape ambiance in the silence before the band kicks in, everything sound clearer somehow, much more 'live', and the guitars in particular slash harder.This release is just basically a nice way for indie-pop geeks to get a physical version of the band's complete recordings. For everyone else it's a pleasant reminder of past achievements and of how little distance has been covered in the intervening time (not necessarily saying this is wholly a bad thing).