Curve's finest hour is also the best thing to come out of the early 90s, even if it sounds much later than that. The formula is a wall of sumptuous, urgent pink noise, topped with Toni Halliday's sublime vocals - it could be the soundtrack to the best gritty, ubercool female assassin movie ever. To play the citation game, reference points for triangulating Curve would include Nine Inch Nails, The Jesus and Mary Chain, and My Bloody Valentine's 'Loveless' (and, unavoidably, Garbage, who somehow took the Curve formula to greater success with lesser songs). But Doppelganger is more pop-savvy than its forebears, melding industrial noise with rich shoegazey textures, that voice and, yes, tunes.
The high points are opener Already Yours, Horror Head, the sprawling brilliance of Fait Accompli and Clipped... oh, it's all good. Pride of place, though, is Lillies Dying, in which icy cold lyrics about a failing relationship (?) soar above a cyberpunk soundtrack. Yes, it is the best song ever... and the louder the better.
Doppelganger was Curve's high point -- the preceding EPs are brilliant but not as polished, and the follow-ups were incrementally more generic. Pubic Fruit, Cuckoo and Come Clean are all worth having, but if you're new to Curve then picking up Doppelganger is guaranteed not to disappoint. And the coherence and compactness makes Doppelganger a better place to start than the unfocused patchiness of the "The Way of Curve" collection.