Kickalbums: Loveless by My Bloody Valentine

Some time ago I promised I would review My Bloody Valentine's 1991 album, Loveless. Then, I hesitated. I find myself wondering what I could possibly say about one of the most studied albums in Alternative and Indie Rock history. The sound of the album, and the urban myths surrounding its production have entire websites devoted to them. So let me say this: I find this record to be an extremely cathartic work. Some may think it's ironic that I should love an album that many consider to be very gloomy-- especially when discussions on this blog seemingly led me to a 'pro-positivity in music' tirade in one of the comment sections. To clarify: my stance is more directed at lyrical content. For all the time spent by any singer/songwriter/whatever on his/her deeply 'human,' angst-ridden, 'meaningful' lyrics about life/death, I have spent an equal amount of time not caring. That, my friends, is what Loveless is all about. The record eschews lyrical content in place of feeling. An immensely visceral collection of recordings that purposefully emphasizes melody and texture-- Loveless allows the listener to interpret the sensations for himself/herself. And, trust me, this album DOES bring about some sensations. As per my own interpretation, I don't really find it to be especially gloomy. I've read that eating chocolate causes the human brain to produce the same chemicals it produces when one falls in love-- I think this album does the same thing.

The band itself is considered to be among the forerunners of the blurry sub-genre of pop-rock now known as 'Shoegaze,' and My Bloody Valentine leader/mastermind, Kevin Shields, is now regarded as something of a modern guitar hero; despite his admitted non-virtuosity with the instrument. Through experimentation with his guitar's built-in tremolo system he achieved a woozy, dreamy sound (using minimal amounts of effects) that Loveless is truly built of. Elsewhere, Shields has drawn comparison to Brian Wilson of The Beach Boys for his studio perfectionism. The dreamscape effect of the record is further enhanced by the blending of vocals into the mix so that only the melody is completely coherent-- listeners will find themselves singing along even though they have no idea what the lyrics are. Shields played essentially all of the instruments on the album (including the bass parts in bassist's Deb Googe's stead). He also made heavy use of self-sampling-- creating samples of keyboard parts and even creating synth-like textures using guitar feedback. When drummer, Colm Ó Cíosóig, fell ill during the sessions, Shields used samples of his drum patterns as well. Finally, where studio editing was beginning the move towards digital means in the early 90's, Shields edited the album himself on an old reel-to-reel tape editing machine that was used to soundtrack movies in the 70's (wow!) creating the 'lo-fi' texture of the record, and further blending the individual overdubs together. Setting aside all of this jargon, one can say that through Shields' song-craft and innovative production techniques, the complete Loveless package is a collection of songs that are structurally diverse, yet aesthetically cohesive.

A few snaps from a snare drum and Only Shallow comes roaring in with full-blast guitars, but it quickly gives way from menacing snarl to beautiful shimmer as the first verse comes in. Already, the listener has a small-scale sense of Loveless as the half-asleep voice of co- lead vocalist/guitarist, Bilinda Butcher, enters the picture. Indistinct though the lyrics may be, Butcher's vocals are anything but ghostly-- they are still warm, human, inviting, and-- yeah, I'll say it-- sexy. The next track, Loomer, continues the drift-- a drift that comes to full fruition on what is perhaps the most esoteric track on the record (and, perhaps, in all of rock music), To Here Knows When. This track alone sends pop-guitar fans into a frenzy trying to replicate the siren-like wash of Shields' guitar-- as evidenced by Youtube videos like this one.

Despite the high-volume, considerable amount of distortion and overdrive, and wonky chord structures, the album never sounds especially dissonant-- though I have heard it is often considered to be a difficult first-listen (if this is the case for you, begin your course in Sonic Youth 101 and you should be fine). For much of the time, Loveless is something like the aural equivalent of standing on a beach, closing your eyes, listening to the sound of the waves, and feeling them lap over your feet. See exhibit: Sometimes. This track has gained some fans in recent years for its use in Sofia Coppola's Lost in Translation. Regardless of its muscular guitar, the track seems more like a lullaby than an arena-blaster-- in a good way. The album ends on yet another wildly unique track, Soon-- with a near-dance drum machine beat, trance-inducing synthesizer (or feedback?) sample, and whispered vocal blend.

Much like I suspected, I have said so much and yet so very little at the same time. I can only hope I have peaked somebody's interest in the record. It demands to be heard. I'm not commanding you to like it as much as I do-- but at least respect it. Loveless is an album that truly succeeds in being a record based singularly on an idea. Yes, sound does count as an idea. Many have tried to replicate its feeling (including myself) without being able to do so-- this is the ONLY ALBUM that can satisfy what it satisfies; filling in that gap, somewhere between our consciousness and subconsciousness, that we never really knew was there in the first place. Even My Bloody Valentine have been unable to regain the spark-- withdrawing from music during the late 90's (without completing another album). Truly, they were in top form at this time: even the EP's that were produced from these sessions brought great tracks like Swallow and Honey Power. Fortunately, MBV reunited a couple of years ago, and I'm hoping they DON'T feel pressured to match Loveless-- I would be content just to hear some new music from them after all of this time.

Bonus stuff:
--Live in '08
--A way-experimental mashup with Eric B. and Rakim's 'My Melody,' and old film and commercial sounds.
--Feed Me With Your Kiss music video from MBV's prior album, Isn't Anything.