Tag: My Bloody Valentine
Well, I’m about 14 listens into the new My Bloody Valentine album, and I can already feel it restructuring my genetic make-up. I’ve always adored Loveless, and as crazy as it seems to me that I may actually enjoy this record even more, I can’t deny it. Listening to mbv is like watching water rush down an empty riverbed – it works its way into every crack and fully consumes everything, creating a new unified entity with the previously dry ground beneath it. This is the first album I’ve ever tried to turn my Bose computer speakers all the way up for, and they totally had not a lick of balls to get to the point I needed. I need to drown in this shit – that’s the intention of the music, and not letting it fully wash over you is a complete disgrace and disregard to its power. You can read my full review of the album HERE at State of Mind, and here’s the last paragraph of it.
…Somehow, thank god, Bilinda Butcher’s vocals are still as ethereal and illusive as ever. After all this time, I still have no clue what one word of the lyrics she sings on Loveless is, and 22 years from now I’ll still have no clue what any of the words on mbv are. But complaining about that is like complaining about not properly knowing what hue of indigo lies within glacial ice — some things in life just are entities solely unto themselves. I could go on and on… how perfectly imperfect the guitar tone is in “Who Sees You”… how “New You” is the most eerily beautiful anything of the past decade… how the drums on “In Another Way” sound like a syncopated stampede of rabid yak… how “Wonder 2″ is most assuredly the sound of Neptune’s rings… To simply delineate the enormity of this music into something so trivial as “shoegazing” is like classifying your life with a haircut. mbv is not only a testament to the potential triumphs of great bands lost along the way, but an ode to the authenticity of rebirth in general….
The sudden arrival this weekend of the first My Bloody Valentine album in 22 years caused music-heads the world over to unexpectedly shoot their loads all over the goddamn place. Most indie-kids had gotten so used to living with the half-chubbed boner that Loveless left them with in 1991, that they had become completely oblivious to the fact that they had spent the past two decades in constant half-aroused anticipation. When Kevin Shields decided that the unannounced arrival of his band’s new record would be the ideal drop, tens of thousands of folks worldwide had an inner sonic explosion akin only to the greatest prepubescent ejaculation of their childhood years.
But seriously, the release of m b v is a huge fucking deal. Imagine if after The Beatles released Rubber Soul in 1965, they waited til 1987 to release Revolver. That’s the equivalent gap between moments of magic we’re currently experiencing here. And yes, believe it or not, this new record totally lives up to it’s long-lost father. If this record had come out in 1993, it would have been met with just as much equal praise as it is today – a worthy successor to a breakthrough moment in rock’s history. Sure, there’s a touch more sense of melodic flow to the new album, but it still quintessential My Bloody Valentine – quivering echoes of electric squeeze, and the definitive calling cards of everything we like to call shoegaze. What’s most impressive though, is that despite the hundreds if not thousands of indie-rock bands that have tried to sound like MBV over the years, this is the only time there has ever been new music that is unmistakeably this same band. Despite every hip girl on the planet wanting to, nobody has ever sounded like Bilinda Butcher, and amazingly her voice sounds just as ethereal, and spookily heartwarming here as it did half a lifetime ago. Most importantly though, this band has possible one of the greatest legacies in rock history. And to have the confidence and skill to not fuck that up is one of the greatest accomplishments any band has ever pulled off. Think about how much you hung your head in shame when Jane’s Addiction started recording horrid new music. And think about how stoked you were when Pavement returned and played nothing but their old shit. So hats go way the fuck off to Shields and company here – good to have you all back.