WHEN Absolute Grey recorded Green House 20 years ago, their guitarist and bass player were 15 and 16. Part of the album’s enduring charm remains the tangible gulf between ambition and ability. Squint a little and it is stupendous; approach it in a spirit of cynicism and it’s a shambles. Absolute Grey spent their adolescence in Rochester, New York, approximating the sounds of classic 1960s acid rock, English psychedelic post-punk bands like Echo and the Bunnymen, and the contemporary American retro-rockers of the so-called Paisley Underground. Beth Brown’s unapologetically strident folk-rock vocal incorporates occasional early-1980s new-wave glitches, and Matt Kitchen’s mix of jangling chords and atonal droning pre-empted two decades of indie-rock sounds. A second CD of 17 live tracks secures the album its own little space on the lost-classics shelf.