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My Bloody Valentine: Re-reviewing the shoegaze icon’s albums

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Initiating the discussion, let me clarify that your curious question is indeed affirmed: The band name My Bloody Valentine was originally taken from a so-so 1981 Canadian slasher movie titled “My Bloody Valentine”. This film revolves around a miner-garbed killer who emerges every Valentine’s Day to seek vengeance.

Furthermore, Kevin Shields, known for his role as lead vocalist/guitarist/notorious perfectionist, supported this claim by mentioning that initially, they aimed to create an impression of a band brutally performing their songs. However, despite their attempts to construct such a grim facade, the Valentines are not characterized by this dark image.

As a gamer, I’d put it like this: MBV is a paradoxical band. They’re both seductive and off-putting, foreign yet familiar, tough yet tender, hot and cool. The chaotic dance of these qualities reaches its peak in their 1991 masterpiece album, Loveless, an auditory hug that defies its name.

Everything you need to know to get you listening to My Bloody Valentine

They are the iconic representatives of the shoegaze music genre, a term not related to trendy footwear but rather a humorous nickname for musicians who spent much time focusing on their floor pedals, producing layers of sound that kept them from engaging with their stunned audience.

Because My Bloody Valentine’s music has a secretive quality, there’s always an air of mystery around it. Interestingly, the band is quite elusive when it comes to giving interviews, which only serves to enhance their enigma. Was their loud sound just a testament to their technical skills and smartness, or was it something beyond this world?

Instead of asking Shields to reveal his secrets, it’s much more enjoyable to play a game of guessing who influenced these bands such as the Smashing Pumpkins, Nothing, DIIV, Whirr, and Peel Dream Machine.

The journey of this musical group, transforming from a modest beginning at Point A into Acclaimed Sound Experts known as Noise Scientists, is an intriguing adventure traversing through decades, various continents, and diverse music genres, with a notable lack of violence. It’s rumored that these artists are yet to be captured, manipulating sound according to their whims and choosing the perfect instant for their return. Until then, let us acquaint you with My Bloody Valentine’s impressive body of work.

Early years: 1985 – 1987

This is Your Bloody Valentine (1985)

MBV, initially formed in Dublin, Ireland in 1983, included Kevin Shields (guitar), Colm Ó Ciosoig (drums), and David Conway, a notable goth enthusiast on vocals. Later in 1984, Tina Durkin joined the band as keyboardist, having been Conway’s girlfriend at the time. Their debut album, titled “This is Your Bloody Valentine“, was released by the German record label Tycoon after their departure from Ireland and a series of European tours.

At this stage, the band is quite distinct from their future selves. This recording spans approximately 26 minutes, filled with guitar riffs and a style that brazenly emulates The Birthday Party and the rockabilly punks, The Cramps. To enhance the mix, they’ve thrown in some organ sounds reminiscent of The Doors.

It’s raw, it’s murky and Nick Cave most likely loves it. 

Man You Love To Hate (1985)

Although “Man You Love To Hate” is labeled as an MBV “publication,” it essentially captures a live performance at Sputnik, Berlin, during a 1985 music festival. This recording presents a band with a unique sound, albeit with lower-quality recording and some tipsy commentary from David Conway.

This object seems intriguing, but it doesn’t play a vital role in the traditional tales of Valentine’s Day. It’s plausible that, as the title implies, Kevin Shields holds some negative feelings towards it, similar to the way one might harbor resentment towards something disliked.

Geek! (1985)

An entire album featuring the initial lineup, harmoniously meshing with Kevin Shields on guitar, Colm Ó Ciosoig behind the drums, debutant Debbie Googe handling the bass, and David Conway providing the vocals – at least temporarily.

In this release, the band continues producing similar tunes as their first album, but with a noticeably increased layer of fuzz in their gothic garage rock style. This evolution seems to be influenced by Scottish noise rock pioneers The Jesus and Mary Chain, whose influential debut album “Psychocandy” came out just a month prior.

In a casual and understandable manner: Conway’s sultry singing harmonizes well with the vibrant tunes of hits like “Moonlight” and “Love Machine,” giving off a vibe that might trick you into thinking you’re enjoying a lively weekend with an entirely different band.

The New Record By My Bloody Valentine (1986)

If you’ve been following along, Gothabilly has had three victories so far, but The New Record veered off in a new direction, exploring hopeful and uncharted territory.

MBV significantly amplified the intensity on their track “Geek!”, replacing The Cramps’ gritty sound with a more melodic vibe similar to The Monkees, and showcasing a distinctly different vocal style from David Conway, as he appeared to have opted for a calmer tone instead of his usual deep, vibrant howl. Notably, there were no minor chords used in the energetic, chaotic 10-minute long tracks they produced.

The new record not only set a new benchmark, but it also signified a shift in production methods and focus. Joe Foster, a partner at the then-emerging Creation Records, had recently launched Kaleidoscope Records and presented the Valentines with an enticing proposition: financial aid for their next album, which would serve as Kaleidoscope’s debut release if they agreed.

In their career, The New Record was the unique opportunity where they collaborated with Foster for the very first and last time. However, due to Kaleidoscope’s influence, the Valentines were climbing the ladder in the music industry.

Sunny Sundae Smile (1987)

Following their departure from Kaleidoscope Records, My Bloody Valentine (MBV) joined Lazy Records, a label spearheaded by CEO Wayne Morris, renowned for nurturing talent such as his group The Primitives. For quite some time, he had been eager to work with MBV. This collaboration led to a powerful 4-song release that embodied sunshine punk dream, with each member of MBV performing at their peak.

Drawing from the cheerful vibe of their earlier EP, the tunes are a delightful blend of sweetness and edge, like sugar and bite. Frenzied drumming and bass provide the robust foundation, while a raw, crunchy guitar adds grit. The harmonies of Conway and Shield propel us towards a future version of MBV that we can anticipate. To me, the chaotic energy of “Sylvie’s Head,” reminiscent of T-Rex on steroids, still feels like their greatest achievement, even after all these years.

Strawberry Wine EP (1987) 

At a critical juncture in their journey, My Bloody Valentine found themselves at a crossroads when David Conway’s severe stomach illness worsened, forcing him to leave the band prematurely. Subsequently signed by Lazy Records and left without a vocalist, MBV began conducting auditions and discovered the captivating Belinda Butcher. After her powerful performance of Dolly Parton’s ‘Bargain Store’, they welcomed her into their group. This marked the beginning of My Bloody Valentine’s storied history.

Equipped with Butcher’s guitar and Shields’ ethereal harmonies, the self-titled track serves as a swirling, spiraling blueprint of what was yet to unfold. On the other hand, “Never Say Goodbye” showcases a tug-of-war dynamic that evolves into a dreamy chorus, highlighting Butcher’s significant influence in propelling the band to new heights in just three songs.

Ecstasy EP (1987) 

The full lineup of MBV was established, and the Ecstasy EP marked a significant shift in the band’s musical style. The tracks on this EP range from sweet, jangly rock tunes (“She Loves You No Less”), to songs heavily influenced by The Jesus and Mary Chain (“The Things I Miss”), and even hinting at their unique sound and signature wall of sound reminiscent of the Beatles’ Revolver (“Clair”).

Additionally, this event marked the termination of their collaboration with Lazy Records, which proved beneficial in the long run as Wayne Morris compiled and released both the Ecstasy and Strawberry Wine EPs as one collection without the band’s approval many years afterwards. Yet, an unexpected encounter was just moments away.

Ecstasy and Wine Compilation (1989)

Back then, a bootleg compilation was put out without My Bloody Valentine’s permission. Interestingly enough, this turn of events turned out to be quite serendipitous. You see, the 10,000 copies that Kevin Shields confiscated from Lazy Records ended up being sold, providing the funds for his recording sessions after we were dropped by Creation Records. Speaking of unexpected blessings…

Creation years: 1987 – 1991

You Made Me Realize EP (1988)

Under the guidance of the insightful Alan McGee, Creation Records was established in 1983. By the time they encountered the Valentines, bands such as the Jesus and Mary Chain, Primal Scream, The Pastels, and TV Personalities were already part of their record label roster.

The tale goes that as Wayne Morris of Lazy Records was engrossed with The Primitives, MBV served as the opening act for a band inspired by McGee’s Cure, Biff Bang Pow!, at a show in Canterbury, England. Impressed by their performance, he promptly offered the Valentines a deal on the spot, marking the beginning of a career-shaping association between My Bloody Valentine and the record label that they eventually left in pieces.

For the first time, they introduced themselves through a five-track mini-album, which served as a precursor to their full-length debut album. Aggressive discordant chords set the tone initially, but soon enough, the soothing harmonies of Butcher and Shields – now recognizable and reassuring – took over.

The gentle rhythm of “Slow” hides its mature content, which lies beneath the surface. Among them, “Thorn” stands out as a catchy tune that sticks in your head. Interestingly, “Cigarette In My Bed” is an intriguing title and showcases a vulnerable Butcher singing softly over acoustic strumming before things get noisy.

Feed Me With Your Kiss EP (1988)

Two months on, My Bloody Valentine unveiled their second EP through Creation Records, and I was right there, front and center. The tracks harkened back to their pre-Creation days, with a whopping four bass-centric compositions penned by Shields. His swagger seemed to take the reins, leaving an impression of unbridled confidence.

A sparse use of Butcher’s calming background music and Shield’s tense performance create a more somber atmosphere compared to their previous works. If the vocals were less prominent, “Emptiness Inside” could almost be a B-side from the album Loveless. The most original track is the closing one, “I Need No Trust”, where minimalism is explored and Shield does an impressive imitation of Lou Reed.

Isn’t Anything (1988)

At this point, My Bloody Valentine had previously demonstrated their live skills at the “Doing it For The Kids” concert, and they also provided their “You Made Me Realize” EP for just £1.99. Following several small-scale attempts, the Valentines finally produced their first full-length studio album. However, “Isn’t Anything” signifies more than that. It’s the music of a band expanding and growing.

The sentiment was shared by journalists who attended the “Doing It For The Kids” show put on by Creation. They too noticed a band with promise but still finding their footing, as expressed by Simon Reynolds from Melody Maker before its closure: “During the performance, the subtle melodies and carefully orchestrated chaos often got lost in the crowd.

In this scenario, the crucial detail is his final statement.

“His ultimate comment is particularly noteworthy. This raven-haired thrash-pop has a hidden, grittier side compared to other acts on their shared record label, Creation Records, such as Primal Scream, The House of Love, and Felt.

In their secluded studio, My Bloody Valentine were content and thrived on solitude as they honed their sound. Tracks like “Soft As Snow (But Warm Inside)”, “Cupid Come”, “Several Girls Galore”, “(When You Wake) You’re Still In A Dream”, and “No More Sorry” showcased powerful riffs, heartfelt confessions wrapped in ambient noise, and even hints of their past jangly work with a touch of dark humor. The Pixies’ “loud-quiet-loud” style occasionally surfaced (“Nothing Much To Lose”), as did Sebadoh’s melancholic serenity (“I Can See It (But I Can’t Feel It)”). However, it was “All I Need” that most embodied the pure sound they were striving for. Their signature would soon be vocals lost within a sea of otherworldly pink noise.

Glider EP (1990)

In the opening 45 seconds of My Bloody Valentine’s latest EP, it’s clear that this isn’t the same old group. This may be due to the influence of the acid-house movement emerging from Manchester, which has seeped into the very core of Creation Records.

As a gamer diving into the rhythmic world of music back in February 1990, Primal Scream’s anthem “Loaded” was like a game-changer. The vibe was clear: this was something fresh and exciting. If you listen closely to the extended club beat of “Soon,” you can hear it standing out from anything else on that EP. It was one of those early glimpses into what would become the legendary Loveless album.

Titled after itself, the main song can be seen as a testament to endurance or a covert masterpiece. Initially, it seems like a mix-up of heavy machinery noises from construction sites all clashing together, but that’s where its charm lies: amidst chaos, there is a form of beauty.

Don’t Ask Why” offers a more casual, relatable vibe. Interestingly, “Off Your Face,” a composition shared by Butcher and Shields, is taken to extraordinary levels by Butcher, largely due to the unique transformation in her vocal delivery.

Food for thought: does the cover art contribute to the idea that MBV is a sensual—nay, sexual band?

Tremolo EP (1991) 

Ultimately, music enthusiasts everywhere, even Creation itself, rejoiced as the Valentines produced another EP, titled “Tremolo,” barely a year after their previous release, “Glider.” This new album swiftly distinguished quality from mediocrity. Brian Eno praised MBV’s work, stating it set a new benchmark for pop music, while countless listeners rushed back to stores, claiming that the record was defective.

As a devoted fan, I’d originally anticipated completing an entire album, reminiscent of the “Isn’t Anything” era, within eight weeks. However, as history has proven, this seemed more like wishful thinking, especially when the creator is none other than Kevin Shields. To make matters even more intense, Ride had recently unveiled their monumental work, “Nowhere,” in October of 1990, which skyrocketed to Top 20 fame. The mounting pressure was palpable, the clock was relentlessly ticking, and Creation Records, unbeknownst to us all, was teetering on the brink of bankruptcy.

This EP, the penultimate submission before MBV’s final form, is an immersive experience that roots deeply in the rich soil they’ve been nurturing for years. The title itself echoes the persistent, tremolo-like effect that Shields is known for through his guitar’s whammy bar. Unlike its counterpart EP, Tremelo stands out by explicitly embracing its distinct style and presenting a band confidently comfortable in their identity.

The first song, titled “To Here Knows When,” has strong similarities to the album “Loveless”; it offers an extraordinary, alien-like encounter, much like being taken by extraterrestrials and left floating on their cosmic playground for approximately four minutes and forty-three seconds. This language is so enchanting, it’s almost too delicate for human comprehension.

As a gamer, I must admit that this game takes me on an extraordinary journey. It’s like being transported to a distant tribe, the rhythmic conga drums and chimes in “Moon Song” making me feel like I’m part of their community. The flute loops in “Swallow” have me imagining myself dancing with the wind. And the walls of trance-inducing sound throughout? It’s like being lost in a hypnotic trance, completely immersed in the game world.

However brief, Tremolo also cemented two crucial facts:

1.) The band’s sound was heavily influenced by the otherworldly additions of Butcher.

2.) Codas, in their elegance, represent a stunning aspect of music composition.

The extended versions of sonic joy can be found at the end of every track in the EP, except for “Moon Song”. Notably, “To Here Knows When” on the Tremelo album offers a complete rendition, while the version heard on Loveless was toned down. In essence, Tremolo serves as an excellent prelude to what followed.

Loveless (1991)

If “Isn’t Anything” was a masterpiece created by beings half-human, straddling the mortal world, then “Loveless” was an ethereal, sensual offering from the divine. Approximately two years after “Isn’t Anything” and with an estimated production cost of around £250,000 across various studios, “Loveless” was released, exceeding expectations and leaving a lasting impact on countless artists, sowing seeds of influence.

Today, heartfelt homages are everywhere, varying from elaborate instrumental pieces (such as Japancakes) to albums where artists from Japan and South Korea collaborate, each offering their distinctive interpretations. Among them is a charming rendition of “When You Sleep” by Shonen Knife.

Loveless, a track by My Bloody Valentine, seems strangely captivating whether played forward or backward. It’s been subtly adjusted by lowering the tuning slightly and slowing down the tempo, and it works equally well without drums. Yet, describing music is much like trying to express the taste of food through words – it falls short until you truly experience it. Therefore, the only way to truly grasp the enchantment of Loveless is to immerse yourself in its entirety.

See you on the other side.

Post-Creation years: 2013 – ?

m b v (2013) 

22 years later, the world has undergone significant transformations since the 90s. Streaming platforms such as YouTube provide unlimited online video content, Barack Obama begins his second term as U.S. president, and “Gangnam Style” by South Korean rapper Psy becomes incredibly popular. Given these circumstances, it’s intriguing to consider why the cunning Shields decided to fulfill MBV’s long-awaited follow-up at that particular time. The answer is timing.

In his well-known assertion, he said that if he couldn’t execute things in the manner or timing he desired, he would simply bide his time until the situation became favorable. While this claim may appear weak and unjust, it might have held a grain of truth.

Regardless of punctuality, the album titled “m b v” was like an answer to prayers for those who had been patiently waiting for another masterpiece similar to “Loveless.” Some might argue that after so many years, the sound of Valentine’s Day has suffered some changes. But rather than a beating, let me clarify that this band has evolved over time. Although the distinct features remain, the album “m b v” combines elements of their past with a vision for the future, fragmenting its 9-track journey into pieces that reflect both the band’s history and its aspirations for the future.

The layers of sound persist as a constant backdrop, accompanied by Butcher’s captivating voice harmonizing with Shields’. However, for the initial five tracks, the percussion is either absent or moving at a slow, hypnotic rhythm, heavily saturated in a pink noise wash. (“she found now”, “is this and yes”) (“only tomorrow”, “who sees you”)

Only when a new version of things kicks in does the rhythm start again, offering a hint of 90s My Bloody Valentine-style music. However, once Shield unveils what he’s truly been working on in his lab, it becomes clear there’s no going back.

In another phrasing: The song begins with screeching sirens accompanied by a persistent drumbeat, then Butcher attempts to grasp the disorder. We drift off on swelling guitars and keyboards, reminiscent of My Bloody Valentine’s early repetitive track, “Glider,” which could be seen as a testament to endurance.

If we consider this scenario, the relentless surge of “there’s nothing here” could be akin to seeing your end approaching or perhaps your rescue. The track “wonder 2” concludes the album and represents an innovative exploration that might shape the band’s future sound.

Picture a breakbeat being played on a bustling airfield, artfully blended with flanger sounds, eerie wails reminiscent of alarms, and Shield’s faint, concealed vocals. It’s not ‘Loveless II,’ but it certainly wasn’t intended to be. Instead, in many aspects, m b v is more of a captivating enigma than its well-known predecessor. Tracks within this album are destined to be deciphered and admired long after its debut. And yes, they also sound fantastic when played in reverse and at slower speeds.

What now?

This marks the end of the introduction, and here’s where My Bloody Valentine’s latest creations come to a halt. You’re craving more, aren’t you? Well, we all are. The band that pioneered a powerful genre, shattered expectations, and left concert-goers unable to control their physical reactions during performances must be working on something fresh, right? It’s up to them to reveal the truth.

If the musical prophets are now silenced in the realm of eternity, we can still appreciate their creations by listening to their old songs. You can find their music on platforms like Spotify, YouTube, and other places where you can comfortably listen.

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2025-04-15 13:01

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