Retrieved 3 February — via Facebook. Ultimate Guitar Archive. Retrieved 4 February The Daily Telegraph. Kevin Shields ". Retrieved 16 August Korea Gig Guide. The Guardian. Retrieved 30 December Retrieved 6 February Retrieved 8 February The A. Retrieved 5 September Retrieved 16 February The Independent. Archived from the original on 12 February Retrieved 26 July Los Angeles Times.
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Necessary Necessary. Functional Functional. Performance Performance. Analytics Analytics. Advertisement Advertisement. Others Others. Indeed, there are moments in the past when Shields may have overlooked it himself: if you wanted to criticise Loveless, you could suggest that the songs were perhaps a little less interesting and a little more formulaic than those on its predecessor, 's Isn't Anything.
The songs on m b v, however, are more melodically complex, intriguing and often pleasing than anything he has written before. The tunes and chord progressions keep slipping their moorings and heading down unexpected paths. There's occasionally something oddly jazzy about m b v, as evidenced by the shifting time signature of Only Tomorrow, which leaves the song sounding as if gasping for breath; and the song Is This and Yes boldly strips away all Shields's trademark sonic mayhem, leaving behind only Butcher's voice and an organ playing a strange and gorgeous chord sequence.
It's not m b v's only unexpected moment. It reached a kind of pinnacle with Loveless, which effectively killed the MBV-inspired shoegazing movement dead: it was as if, on hearing it, all the bands involved just shruggingly gave up the chase and either vanished or tried something different. There's something of that about m b v's final three tracks, all three of which are unlike anything My Bloody Valentine have released before.
Set to a distorted breakbeat, the sound constantly shifts and changes: it's simultaneously hugely disorientating and hugely exciting. The instrumental nothing is offers a frantic, hypnotic loop of guitars and drums. The closing Wonder 2, meanwhile, is flatly astonishing. Most attempts to meld drum'n'bass with rock are almost unimaginably awful: ungainly, clodhopping attempts to squeeze guitars somewhere amid the genre's rhythmic clutter.
But Wonder 2 sounds incredible, like the sonic counterpart of a dust storm, with Shields's vocal — another beautiful melody — drifting pacifically through it. It instils a kind of pleasurably baffled awe: how did someone arrive at the conclusion that a song should sound like this? Then again, as was established long ago, with My Bloody Valentine, inexplicability is very much part of the deal. Alexis Petridis's album of the week My Bloody Valentine. My Bloody Valentine: m b v — review.