My Bloody Valentine - Loveless

_{1991 | Shoegaze, Noise Pop}

Loveless was my first impression of any type of noise-related genre in general, including Shoegaze. I also went into it completely blind, without even knowing what Shoegaze really was (I only knew that it was similar to noise-pop, and that, for the most part, this album was universally loved). Because of this, on my first listen I didn’t really like it. I heard Only Shallow and thought it was just noisy, and that was all there was to it. Despite kind of wanting to, I didn't stop listening there. I figured I’d give the album justice and finish the whole thing to at least try to understand why people seemed to like it so much. I held the same opinion for most of the songs as I did with Only Shallow; I didn’t hate them, but I didn’t necessarily like them either. Though, after finishing the album, there were two songs that I liked slightly more than the rest: When You Sleep, and Soon. In the following weeks, I would find myself revisiting these two songs. At first, it wasn’t much, but it eventually got to the point where I was listening to them over, and over, and over again. I finally cracked, and decided to revisit the whole album.

When I listened to Only Shallow again, it wasn’t the same wall of sound that I remembered. The riff suddenly had a shape to it. The whole album took form for me with this relisten - the more droning cuts like Loomer and To Here Knows When were no longer a mess of static, but more a collection of rich textures of guitar and feedback. I found the more accessible songs with repeating synth sounding melodies better from the start, but the layers underneath the surface took form as well and complemented everything perfectly.

One aspect of this album is that all of the songs sound very much connected, but different. Come in Alone is a good example of this; it is another heavy hitter that, in a weird way, is similar to Only Shallow, but it has a completely different feel to it; the tempo is slower, but this is part of what gives the riffs on this song the punch that they have. The high pitched arpeggiator-type sounds over top the riffs compliment the song perfectly as well, and they are a great example of textures and sounds that are only noticeable after multiple listens. Sometimes is pretty much an acoustic singer-songwriter cut - as long as you ignore the many layers of distortion and feedback of course. Though, unlike other songs on the album, on top of the distortion-imbued guitars are very audible, clean strums. The synth lead at the end of this track is amazing as well. It’s definitely the most intimate track, and it acts as a great change in pace in the track listing.

What You Want is another one of my many favorites on the album. When it comes up in the track listing, it feels almost refreshing as it’s not as sonically complex as other tracks. The main riff is really catchy without there being an addictive melody like there is on When You Sleep, I Only Said, Soon, etc. In a weird way it’s the most “normal” sounding song on the album, despite it not being normal at all - it only really seems like this because of the relentlessness of the rest of the album that came before it. It also features the album’s best transition into Soon, which is probably my second favorite song on the album behind When You Sleep.

The main reason why Soon is so good is because of the groove. It is by far the most rhythm-centered track on the whole album; from the tambourine and the drums, to the main repeating melody, there is syncopation everywhere on this track, and it sounds amazing. This track is also a great example as to how MBV layers extra sounds every time a riff or melody repeats to give it a different feel as the track progresses. The first and second time you’re met with the main melody, it’s there by itself. But with every subsequent time it shows up in the track, there are small, extra layers added on, like vocals that meander in the background. Additionally, this track has a lot of pitch bending with the long, drawn out guitar chords during the verses. This is one main attribute to the guitars that all of the songs on the album have; it is one of the qualities of this album that makes it sound so good. This along with the distortion and other effects layered on, all contribute to why the album sounds drowsy; or, for lack of a better explanation, why it sounds exactly like the cover art.

When You Sleep is probably the most popular song from the album, and I can see why. It is the first song that really caught my attention, and it is the reason why I latched onto the album in the first place. When understanding this song, it’s also important to note where it is in the track list. Up until this point, Only Shallow is really the only song that has an actual beat to it with drums; Loomer and To Here Knows When are amazing songs, but their sound is more feedback and texture focused rather than melodies necessarily, and Touched only acts as an interlude between the two. Additionally, Only Shallow’s riff is amazing, but not very accessible; it doesn’t really have a melody to it, and almost just sounds like screeching. When it grows on you, it grows on you, but to someone who isn’t used to these kinds of sounds in the first place, it doesn’t really have that addiction factor on first listen. To Here Knows When ends with a repeated, muffled guitar riff that sounds like you’re in the bathroom at a house party hearing it through the walls. It’s almost hypnotizing, as it has a very clear repeated rhythm. Then, in the middle of the riff, before the rhythm can even fully finish, the trance is suddenly broken by the siren melody of When You Sleep. This is the first moment when a real repeating melody shows up in the track listing, and it happens to be one of the most addicting. I think this is one of the main reasons why it works so well in the context of the album. Everything about this track is incredible, from the riffs to the vocals. I'd seriously argue that it's one of the best songs ever made.

Loveless is a lot to unpack. If you don’t like it on first listen, wait a while and come back to it. It’s intimidating in the sense that it just doesn’t sound like anything else, but that is also its best quality. If you think the album is overrated upon first listen, please revisit it. If you even end up liking at least one piece of it, whether it be a certain melody, texture, or even a whole song, I can almost guarantee that the whole album will grow on you if you just give it time.