Culture

How do you follow up a genre-defining masterpiece? My Bloody Valentine’s Kevin Shields has spent the last two decades pondering that very question. Since its release in 1991, the band’s magnum opus Loveless has established itself as not only the definitive shoegaze album, but as one of the most culturally significant records of the last 30 years. Loveless’ legendary status and the length of time it took Shields to release any follow-up material meant that the announcement of new album m b v quickly stirred the music blogosphere into a state of delirious, anticipatory frenzy. As Shields must be well aware, expectations were always going to be high.

Those expecting m b v to come hurtling through their speakers will be disappointed. Where Loveless thundered to life with “Only Shallow,” m b v’s opener “She Found Now” slowly and gracefully builds into one of the most tender, ambient songs the band has ever written. The trademark droning guitar and androgynous vocals are a welcoming start to the album, like seeing a friend for the first time in years.

Although the first few tracks of m b v could have comfortably fit on its predecessor, surprises come thick and fast as the album progresses. By the time the upbeat and infectious “New You” kicks in, the band has ventured into truly unfamiliar territory. The final four songs are both the weirdest and best on the album – “Nothing Is” is the same blood-boiling riff repeated for four minutes of pure adrenaline, whilst closer “Wonder 2” is a dizzying whirlwind of blurry pop and (gasp) Aphex Twin-style beats.

It may not achieve the same transcendence-through-noise or offer the same sonic onslaught as Loveless does, but m b v is ultimately a more diverse and personal album. Subdued, sensual and addictive, m b v is likely as beautiful a record as the band will ever make. Hats off, Kevin.

4.5/5