Kevin Shields: My Bloody Remasters
Kevin Shields: My Bloody Remasters
This is great. Thank you.
My Bloody Valentine 'Finished' with New Album
In an announcement 21 years in the making, My Bloody Valentine say they're finished with a new album.
On Dec. 21, the group "finished mastering the new album!," per My Bloody Valentine's Facebook page.
The ear-rattling shoegaze band has been legendarily quiet on the release front since 1991's landmark "Loveless," though recent years have seen the group become increasingly productive. After a series of 2008 reunion gigs, the group's continued to play shows, reissuing remastered versions of albums "Loveless," "Isn't Anything" and a collection of EPs in the UK earlier this year.
With a few days left, the new set may yet see release in 2012. As far back as 2007, manager Vinita Joshi told Billboard the group would digitally self-release its next album, along with a probable vinyl release. Frontman Kevin Shields appeared to be on course with that strategy in a more recent NME interview, telling the mag it would be released online by year-end -- with an additional EP to follow.
"I think with this record, people who like us will immediately connect with something. Based on the very, very few people who've heard stuff - some engineers, the band, and that's about it - some people think it's stranger than 'Loveless,'" Shields told the magazine. "I don't. I feel like it really frees us up, and in the bigger picture it's 100% necessary."
My Bloody Valentine has lined up a number of dates for next year, with three UK shows coming in March and a headlining performance set for Tokyo Rocks in May.
My Bloody Valentine have just announced that they'll be playing a warm-up show on January 27 at The Electric in Brixton before they head off for Japan.
They've also added another date to their run of UK shows, playing Birmingham's 02 Academy on March 8.
Here are the dates in full:
Sun 27 - The Electric, London
Fri 8 - 02 Academy, Birmingham
Sat 9 - Barrowlands, Glasgow
Sun 10 - Apollo, Manchester
Tue 12 - Hammersmith Apollo, London
Wed 13 - Hammersmith Apollo, London
Tickets are on sale now:
According to reports on Twitter, while My Bloody Valentine returned to the stage in London tonight, Kevin Shields told the audience that the band’s long-awaited third album “might be out in two or three days.”
From My Bloody Valentine's Many Layers, An Orchestral Pop Song Emerges
We're still anxiously awaiting My Bloody Valentine's long-promised followup to the band's 1991 classic Loveless. Frontman Kevin Shields announced at a live show recently that it could come out as early as today. But in the meantime, check out this lovely orchestrated version of the MBV song "To Here Knows When," from Canadian soprano Rachel Zeffira.
Zeffira says she'd never even heard of My Bloody Valentine until a few years ago, when a friend turned her onto Loveless. But the moment she heard it, she says she could imagine "To Here Knows When" as a fully orchestrated, acoustic pop song. The live recording of Zeffira's version featured here was captured in a homemade video, in one take, at Abbey Road Studios in Westminster, London. The song also appears on her upcoming album, The Deserters.
In an email, Zeffira tells us she heard "a whole world inside My Bloody Valentine's guitar layers that I thought could be translated to an orchestral world. The cellos and violins play glissandi in order to interpret Kevin's guitar bends, and on the album version, I also used a broken English horn to play a harsh drone throughout the song. I couldn't use it for the live recording, though, because its keys fell off right before the session — so that was the end of the English horn. The Abbey Road live version uses a stripped-down orchestra, whereas on the album there are double the number of instruments."
Zeffira says she relied on her own ear to puzzle out My Bloody Valentine's famously indecipherable lyrics. "To be honest," she says, "I'm still not sure if it's 'kiss your fear' or 'kiss your feet,' but I decided to go with 'fear.'"
The Deserters comes out in the U.S. on March 12. But her version of "To Here Knows When" is already available online.
My Bloody Valentine's followup to Loveless is out... who knows when?
Rachel Zeffira live at Abbey Road Studios: To Here Knows When
my bloody valentine are proud to announce the release of their new album "m b v"
The album is available in three formats:
180 gram vinyl + CD + digital download of your choice
CD + digital download of your choice
digital download of your choice
The digital download will be available in the following file types:
16bit 44.1 K WAV file (cd quality)
24bit 96 K WAV file
The price of the digital download only is the same regardless of the file quality and size.
The vinyl has been recorded, mixed and mastered in analogue. It is manufactured on 180 gram vinyl and comes in a gatefold sleeve with the CD in a card wallet. The vinyl will be limited due to manufacturing restrictions.
The CD comes in a gatefold card sleeve.
The vinyl and CD artwork is currently being finished and each format will have slightly different but similar artwork to the download artwork that will be attached to your download (pictured in main pack-shot on right of screen).
01 she found now
02 only tomorrow
03 who sees you
04 is this and yes
05 if i am
06 new you
07 in another way
08 nothing is
09 wonder 2
she found now:
My Bloody Valentine: m b v – review
Kevin Shields breaks some new ground with his band's first album since 1991. But some things never change
In one sense, the arrival of My Bloody Valentine's m b v was – to use a word no one had heard of the last time the quartet released an album – an omnishambles. A follow-up to 1991's Loveless was supposed to appear at the end of last year; instead, nothing happened bar an announcement that the album was complete. Nine days ago, in response to a fan's shouted query at a gig, Kevin Shields muttered noncommittally that it "might be out in two or three days".
By the end of last week, with a website called isthenewmybloodyvalentinealbumoutyet.com still displaying nothing but the word NO, the mood among even the band's diehard fans had turned distinctly sour. On the band's Facebook page, people were talking angrily about not buying the album even if it did come out. One posted a photograph of Shields with the words DON'T BELIEVE HIS LIES written across it. An aggrieved Chilean called him "terrible", adding something in Spanish that when translated, alas, proved to be enormously derogatory about Shields's mother.
Then, when the album finally did appear to download, just before midnight on Saturday, the band's redesigned website immediately and repeatedly crashed, or refused to accept payment, causing an enterprising person in Indiana to try to involve the US president himself. "The My Bloody Valentine website isn't working and there's a new record on it," read a petition filed on the White House website. "We the people hereby petition the Obama administration to make it work again."
In another sense, however, this was just a very My Bloody Valentine kind of album launch. For one thing, it isn't really a My Bloody Valentine album unless someone has been driven to the brink of insanity by Shields's whimsical attitude to deadlines.
Last time, it was Alan McGee, boss of their former record label, Creation, who was reduced to ringing Shields in tears to ask when Loveless would be finished. This time, Shields appeared to have done the same thing to what may be the most patient and optimistic fanbase in history.
For another, My Bloody Valentine have always moved in ways that weren't so much mysterious as inexplicable. If it's hard to account for the sheer length of time m b v has apparently taken to complete, then it was equally hard to account for the band's transformation from middling indie artists to arguably the most original and influential guitar band of their era, which seemed to happen overnight in 1988 with You Made Me Realise, a single that bore virtually no relation to anything they had previously released.
There are YouTube videos and websites devoted to trying to work out how Shields achieved the sounds he did on My Bloody Valentine's records. But if they had succeeded in their aim, someone else would sound like My Bloody Valentine. And, despite the plethora of artists audibly influenced by them, no one does.
That much is underlined by m b v. At least half the album is in a style roughly similar to Loveless: vocals half-buried beneath a mesh of guitars and samples so dense as to be unfathomable. Some of the sounds feel familiar, not least the woozy effect achieved by strumming the guitar while holding on to the tremolo arm so the notes sway unsteadily in and out of tune. Its constant presence is one of the reasons even a song as luscious, lethargically paced and replete with softly cooing vocals as She Found Now never feels relaxing or cosseting: it has a sickly, disconcerting quality, like a kind of aural equivalent of the way you feel just before you faint.
Others are so hard to describe it's as if Shields is intent on adding critics to the ever-expanding list of people he has driven to tearful despair. Midway through if i am, something briefly starts mirroring Bilinda Butcher's vocal before vanishing entirely. It's an echoing noise somewhere between a drop of water, the "purr" sound on an Apple Mac and the ping of a sonar radar. Quite what it is or why it's there remains a mystery, but the effect is oddly unsettling. It left at least one critic hitting rewind to check he hadn't imagined it.
Some people would claim another album that sounds like Loveless would be an achievement in itself: after all, no one else has managed it and it's not for want of trying. But it's not really the whole story of m b v. Some of the shifts between the two albums are subtle, and have less to do with the sound than with Shields's songwriting, a facet of My Bloody Valentine that understandably tends to get overlooked in the rush to talk about his unique abilities as a producer or the punishing volume at which the band play live. 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, 1988'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. In their heyday, My Bloody Valentine's releases almost invariably carried a hint of WTF? as if with each one Shields was trying to emphasise the distance between him and his imitators by heading into uncharted territory. 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.
06.09.13 - Budapest, Hungary - Club 202
06.10.13 - Prague, Czech Republic - Archa Theater
06.13.13 - Copenhagen, Denmark - Vega
06.14.13 - Hultsfred, Sweden - Hultsfred Festival
06.15.13 - Oslo, Norway - Norwegian Wood Festival
07.07.13 - Belfort, France - Eurockeennes Festival
07.13.13 - Balado, Scotland - T in the Park
07.26.13 - Niigata, Japan - Fuji Rock Festival
07.27.13 - Ansan Daebu Island, Korea - Valley Rock Festival
08.04.13 - Katowice, Poland - Off Festival
08.06.13 - Vienna, Austria - Vienna Arena
08.08.13 - Sibenik, Croatia - Terraneo Festival
08.10.13 - Helsinki, Finland - Flow Festival
08.16.13 - Austin, TX - Austin Music Hall
08.17.13 - Grand Prairie, TX - Verizon Theatre
08.19.13 - Denver, CO - Ogden Theatre
08.21.13 - Seattle, WA - WaMu Theater at CenturyLink Events Center
08.23.13 - San Francisco, CA - Bill Graham Civic Auditorium
08.25.13 - Los Angeles, CA - FYF Fest
08.30.13 - Laois, Ireland - Electric Picnic
09.05.13 - Cologne, Germany - Cologne Live Music Hall
09.07.13 - Berlin, Germany - Berlin Festival
09.08.13 - Munich, Germany - Munich Tonhalle
10.31.13 - Eindhoven, Netherlands - Effenaar
11.03.13 - Lille, France - Aeronef
My Bloody Valentine announces return to North America this fall for 8 more concerts:
Nov. 1: Roy Wilkins Auditorium, St. Paul, MN
Nov. 3: Aragon Ballroom, Chicago, IL
Nov. 5: The Kool Haus, Toronto, Canada
Nov. 6: Metropolis, Montreal, Canada
Nov. 7: House of Blues: Boston, Boston, MA
Nov. 9: Electric Factory, Philadelphia, PA
Nov. 11: Hammerstein Ballroom, New York City, NY
Nov. 12: Hammerstein Ballroom, New York City, NY
Kevin Shields isn't happy...