The Null Device
Posts matching tags 'my bloody valentine'
This week, the formerly unthinkable happened: My Bloody Valentine released a follow-up to Loveless, simply titled m b v. It took them 21 years, and not much was heard of it until they announced that they finished mastering it late last year, on Mayan Apocalypse Day, and announced its announcement a few days before it came out. Anyway, you can buy it from their web site, either as a download or a download plus CD or vinyl, though I suspect that if you were holding out for a new MBV album, you have already done so.
The album itself follows on from Loveless, though diverges somewhat. It sounds like they've spent the first part of their exile from recording listening to a lot of other music; I imagine that I hear the influences of Stereolab and The High Llamas in a few songs (Is This And Yes sounds almost like it's a Beach Boys harpsichord line away from being a Llamas song), and he album ends with a track built up on a chopped-up Amen break through a flanger, a bit like that drum'n'bass thing that was big some 15 years ago. One gets the impression that this is not so much new material as material that has been in the works for two decades, finally wrapped up to make way for new material.
Meanwhile, in VICE, John “Menk” Doran posits the claim that MBV's absence from music-making is to blame for the rise of Tony Blair, the Iraq War and the grim meathook dystopia we're living in today. Presumably if Shields had hurried up, Britpop would have never happened and a charlatan like Blair could never have ridden on its Beatles-quoting, Union Jack-festooned coattails into No. 10, and thus we'd be living in a socialist utopia of some sort. (Either that or perpetual unvarnished Thatcherism, of course.)
When C17th Irish philosopher Edmund Burke said: “All that is necessary for the triumph of evil is that good men do nothing” he was thinking about Kevin Shields. For when MBV hung up their guitar pedals at the height of their fame, a terrible power vacuum yawned open. The field was clear to stripey-tousered, juggling wazzocks like the Wonderstuff and lycra wearing buffoons Carter The Unstoppable Sex Machine to become famous – when in a more civilised age you wouldn’t even have bothered to cross the road to set fire to them. The absence of the most forward looking guitarist of his generation in the early 90s, also led to a slew of appallingly boring shoe-gaze copyists such as Chapterhouse and Slowdive, meaning guitar music was literally anyone’s for the taking.
This meant, the retro-head guitar owners got their first look in since the late 60s. Suddenly making your guitar sound like a sighing whale wasn’t an option any more, all the FX pedals and psychedelic drugs were swapped for Kinks riffs, cocaine and talking like a brickie from Bermondsey. Utter bullshit like Blur and Menswear were hailed as heroes.(I don't agree with him on Slowdive, but he's on the money about Blur and Menswear, and much of the rest of Britpop.)
If only it had stopped there, though. Britpop itself ushered in the Cool Britannia era which erased the social and sonic progressiveness of the 1970s and 1980s in one fell swoop and culminated in the morally blank New Labour administration. (It is important to note that as soon as Tony Blair was ensconced into 10 Downing Street as Prime Minister, the first thing he did was to summon Alan McGee and Noel Gallagher, the singer of Creation’s biggest signings Oasis, to visit him. He wanted to be sure that Kevin Shields’ amazing drum and bass records would never see the light of day – literally the only thing that could have threatened his premiership at that point.)
Something Awful looks at the recent reissue of My Bloody Valentine's Loveless, which Kevin Shields spent the last four years remastering:
So what can My Bloody Valentine fans expect from the long-awaited Loveless reissue? Bliss. Like, it's totally, you can't even describe. It's like a migraine made of vicodin, man. It's like the aurora borealis, but made of guitars, and you're getting blown by a cherub (made of guitars). Imagine you're overdosing on Xanax inside God's vagina, and there are some guitar sounds related to that. It's like, the original was pure sonic perfection, but this is like, even more perfect? Because there's more presence and most assuredly some additional warmth.
And what can the rest of us expect? Well, the original album consisted of some murmuring, plus lots of guitars and some more guitars. Now, thanks to miraculous new mastering technology, it's louder. According to Kevin Shields himself, the first disc of the reissue is exactly the same as the 1991 release but with the volume turned up; the second disc, freshly mastered from the original analogue tapes, sounds almost exactly like the first disc. Read the interview yourself and try to tell me that's not what he said.It's amazing how much effort is spent on preserving “heritage rock” artefacts (and surely MBV are slowly but surely heading into that ossified canon, as the kids for whom they were a formative experience head into middle age, with an acute awareness of the fleetingness of youth and the disposable income to scrabble desperately against it); almost as if one's teens and twenties were as close as one got to being one's true self, and everything that followed was an anticlimax, a betrayal of oneself and an awful compromise with the crushing forces of boring adulthood on the long slog to the grave. So we cling on to our youth (which, as time goes by, becomes increasingly represented by a collage of the consumer products consumed during it), spending money on doing so, and some of that money goes to pay Kevin Shields to spend four years making Loveless sound slightly louder.
The article goes on to reveal some of the features of the new reissue:
Many listeners have noted a jarring digital glitch present in the remastered "What You Want," which may seem like a significant oversight in a project that's been in the works for four years. However, it's actually an Easter egg for dedicated fans: when slowed down a bit, the glitch is actually over thirty hours of shelved My Bloody Valentine music from Kevin Shields' various abortive attempts at a Loveless follow-up.
Thanks to the overall loudness boost of the new mastering job, playing "Sometimes" at high volumes reveals the repeated brittle snap of Kevin Shields breaking off tremolo arm after tremolo arm and yelling "for the love of god, will somebody please fucking bring me more tremolo arms," followed by the sound of engineer Alan Moulder crunching through piles of fallen tremolo arms like so many autumn leaves and creakily screwing a new tremolo arm onto Kevin's long-suffering Jazzmaster even as he continues to bash out wobbly chords.
Tonight, I went to see Lost In Translation; the new film from Sofia Coppola (who also did The Virgin Suicides). It was good, though not brilliant. The characters were like real people and not romantic-comedy templates or something, which was good, but the flow of the film was a bit prosaic and reality-TV-ish; I imagine that some Darren Aronofsky-style editing/visual language would have improved it a good deal.
Kevin Shields' incidental music was OK, though I wonder which parts were his; whether he just picked up the guitar and pedals and made some noise or whether he actually spent the past 12 years learning to write melodies and work with other instruments. (I'm of the opinion that Shields is rather overrated as a musician; mind you, I was one of those people who preferred Slowdive to MBV (as they actually had melodies and songs and such), and who agrees with these people on Loveless; then again, perhaps I'm just incapable of appreciating true genius.)
(I also noticed the Scientology self-help CD Scarlett Johansson's character was listening to in the film (the "Clearwater, FL" on the back of the disc is clearly visible); I wonder to what extent the Clams were involved in the production of this film (other than Giovanni Ribisi being one).)
Something Awful gores indie's sacred cows, i.e., Joy Division, The Smiths, Pavement and My Bloody Valentine. (via Graham)
Everyone who considers themself a hipster should take note: name-dropping Pavement isn't going to win you any merit badges in my scout troop. You'd be a fool not to see that even the bands that everyone loves are just as terrible as the bands that everyone makes fun of. The only difference between Nickelback and The Smiths is that Smiths fans dress slightly better and don't beat their girlfriends as hard.
I hypothesize that if Ian Curtis had continued to live and exert his gothic influence over the band, they would have eventually sounded like Siouxie and the Banshees except with a terrible singer. I also hypothesize that Ian Curtis would now be fat.
They're dead-on about Loveless, btw:
Its one of those rare albums that really sounds like the album cover looks: its an indecipherable blur of noise and distorted guitars. It boggles the mind that so many goofy hipsters are so in love with an album with so little to offer. All of the songs sound basically the same, and you really have to pay attention to figure out where one ends and the next begins. The lyrics are so incomprehensible that they might as well not even be there at all. Although there are certainly noises on this album that have never been made before or since, none of them are particularly interesting noises. In most cases, its the sound of several guitars playing a couple of chords with a few layers of grinding and feedback in the background. Sure, it probably took quite a bit of time and money to make those sounds, but are they particularly interesting? No, not really; when its all put together, it just sounds like a waterfall of sludge running through your speakers.
This is part of the Your Band Sucks section, which also includes articles about bands like Radiohead and Coldplay (though, granted, there's no challenge there).