Just For A Day (1991) is guitar pedals washing over beautiful but very simplistic two or three chord melodies, easy obvious shoegazer melodies, like simple Cocteau Twins songs or something. Likeable but simplistic and a bit obvious. I really loved "Brighter," "Catch The Breeze" and "Waves."
Souvlaki (1993) is, or was for many years, the definitive Slowdive statement--fuller, more mature sounding and well-produced, and they tried a number of different things on it...if Loveless is the unofficial #1 and Nowhere the unofficial #2 then Souvlaki would likely be an unofficial #3 of shoegaze. I really loved "Souvlaki Space Station" and "When The Sun Hits."
Pygmalion (1995) marks the dividing line between Shoegaze and the burgeonning Post-Rock genre just like William Faulkner's Absalom, Absalom! is the dividing line between Modernism and Postmodernism in literature, bro. Contains a number of stretched-out, experimental, drony, and just plain odd tracks, the best of which are "Clear Skies'an Blue" and "Trellisaze" which features clinking bottle percussion. I'd forgotten, until I read the reviews for the reunion album, that the band pissed off their record label by being too weird with this one and I think lost their record contract due to poor sales or something, and the leader Neil Halstead went to go form Mojave 3 which I know nothing about.
The Verve - I heard A Northern Soul which I kind of liked, but not really. It's PAINFULLY long-winded and draggy, like 80 minutes long, filled with languid neverending tunes like "Stormy Clouds," "Life's An Ocean" and...well, the best song, easily the best song, easily the only great song on the whole thing, is actually this beautiful orchestra-enhanced epic called "History" which is exactly what you just said--"britpop singalong anthem," like "Champagne Supernova" if it weren't written by horrible potato people who wear diapers and beat each other up while trying to impress dope smoking teenage morons with their bullshit lovey dove sentiments.
I really love "Bittersweet Symphony" and the short dreamlike track "Neon Wilderness" from their big hit followup album but I heard the whole album in its entirety once and didn't want to pursue it, or the Verve, further. Maybe some other time, I guess?
My description of "Champagne Supernova" ticked off something in my memory from this board, many years ago Mike DeFabio hilariously described the band M83: "Don't bother listening to them. Every single one of their songs is a big fat truckload of super-dramatic chord progressions played on big weepy synthesizers designed to make you think you're in love with everybody on Earth, or something. M83 can gaze at my shoe as it plunges into their testicles."