I stumbled acrioss Spiderland in early 2010 lurking in the bargain bin of an music shop in a small Irish town. Its not where you expect to uncover lost genre-busting classics. The band's name sounded vaguely familiar and the label - Touch And Go - was known to me from my interest in Slint label mates back in my youth when I was keen on bands that included Girls Against Boys, Killdozer, The Jesus Lizard and Mule to name but four. Yet, somehow, this release had never really showed up on the radar. So, almost two decades later, I slipped it into my CD player and pressed play, not really expecting much. What followed left my mouth hanging open. The mood immediately set by this album and maintained with disturbing intensity across six tracks is disconcerting, creepy and almost counterintuitively addictive. Sure, there's imaginative song structures, hypnotic vocal delivery, a complex yet engaging amalgam of chords and intruiging lyrical content. But I still felt confused that this cocktail managed to deliver such a big impact. When I Googled 'Slint and Spiderland' I realised that many regard this release to be a bonafide classic. Now, after listening to it many, many times, I am inclined to agree. Perhaps you've been lucky enough to see the original vampire movie, Nosferatu. If you are a fan of cinema, its worth checking out. The sense of foreboding and dread that this 1921 silent release conveys is astonishing. Spiderland's second track Nosferatu Man is a paen to this very release, a movie that as recently as 2010 was voted the 21st best movie of all time by Empire magazine. And Slint's song actually evokes the movie perfectly. I guess that says it all.