A mixture of utterly trad folk and country tunes with some hipsterish indie touches, The Black Dove is uneven, but it works more often than it doesn't. The songs sung by Sharron Kraus, a British folksinger whose voice bears comparison both to U.K. folk icons like June Tabor and American country singers like Gillian Welch, fit uneasily against those featuring Christian Kiefer's hushed bedroom-rock murmur. Imagine Norma Waterson collaborating with Elliott Smith and the parameters of the project's influences will become clear, as well as its flaws. However, the songs featuring Kraus are uniformly excellent, as are the atmospheric instrumental interludes between songs, which occasionally recall Dolly Collins' fantasias for harmonium on her albums with sister Shirley. Kiefer's whispery material, which works better on his solo records, simply sounds out of place in these surroundings.

Kurt Cobain made a lot of mistakes in his life but loving the Vaselines was not one of them. Nirvana covered one of their songs for their MTV Unplugged session, two other covers show up on the Incesticide record and as Kurt might tell you if he were alive today, from 1986 to 1989 the Vaselines were the best pop band on the planet. Sub Pop was kind enough to cash in on the Nirvana connection and on The Way of the Vaselines: A Complete History, release everything the Vaselines recorded. From the stomping, singalong opener "Son of a Gun" to the distorted and nasty "Let's Get Ugly" 17 tracks later, this collection is the Holy Grail of indie pop music. It's unfailingly amateurish, almost completely silly, occasionally quite perverted, and always about sex. The music has the simplicity and ear-grabbing melodies of the best bubblegum, the loud and semi-competent guitars of punk, and some of the attitude and lo-fi sound of the noise rock scenesters like the Jesus & Mary Chain.

Along with Pavement's Slanted & Enchanted, Sebadoh III is one of the cornerstones of '90s indie rock, establishing the dubious lo-fi style as a credible subgenre. Though the recording techniques give the album a distinctive, hazy atmosphere, the music itself is fascinating. Divided between contributions from Lou Barlow, Eric Gaffney, and Jason Loewenstein, Sebadoh III doesn't necessarily offer a coherent listen. Instead, it's a variety of unexpected detours, with each track offering something different from what preceded. Barlow immediately distinguishes himself with his folky acoustic musings, which not only have sensitivity to spare, but also strong melodies. Gaffney, on the other hand, consigns himself to the role of hardcore noise rocker, often with varying results. Loewenstein falls between the two extremes, acting as a bridge between the two songwriters. With such a variety of styles and sounds, Sebadoh III is a kaleidoscopic summation of various American underground rock genres of the '80s, as well as a launching pad for the introspective obsessions of '90s indie rock.