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Review: Can't help but crank up My Bloody Valentine's 'm b v'

The wait is finally over for My Bloody Valentine fans, and 'm b v' is everything they've been pining for — and quite possibly more.

February 04, 2013|By Randall Roberts, Los Angeles Times Pop Music Critic
  • Bilinda Jayne Butcher of My Bloody Valentine performs at the Santa Monica Civic Auditorium in 2008.
Bilinda Jayne Butcher of My Bloody Valentine performs at the Santa Monica… (Los Angeles Times )

Dear neighbors,

Sorry about Sunday morning. It was rude to be listening to music at such a volume so early in the day. If you banged on the door, sent me texts, or cussed at me from across the boulevard, either I ignored you or, more likely, I didn't hear you. And I definitely can't hear you now. I can't stop listening to "Nothing Is."

Something strange and exceedingly rare happened while you were getting ready for church, marinating your Super Bowl wings or, God forbid, trying to sleep. On Saturday night, after a week of teasing and a few months of hinting, the British band My Bloody Valentine released its first record in over 21 years, called "m b v." It's the follow-up to an album, "Loveless," that has filled hearts the world over with its feedback-drenched melodies, sweet but thorny songs that capture a certain kind of beauty and consummated thousands of young guitar lovers' affections.

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All of Sunday morning I wandered within a nine-song sonic temple, freshly unveiled after years of anticipation, lost within the glory of organized, if dizzying, frequencies. Loudly, at your expense, the volume of "She Found Now," a syrupy, drunken vessel of deep tremolo guitar strums that one can't truly hear unless all else vanishes, ascended. It couldn't be prevented. "m b v" dictates volume, and in this amplification rises a shimmering cathedral.

Look, it hurt me too. "Nothing Is" damaged my ears, a 3-1/2 minute pounding instrumental that goes absolutely nowhere, and does so with great, joyous force. Can you blame anyone for having to beef up the decibels? How else can you hear the layers way in the back? Why pay good money for a jumbo sound system if you can't listen to a new MBV record at full volume?

Thank you for not calling the police.

There's a certain kind of locust that only arrives every 17 years; when it does, patient zoologists swarm to study it. When My Bloody Valentine releases a record, a respectable chunk of guitar-loving fans sit in their most comfortable chairs, wrap their ears in their best set of headphones — or turn that dang stereo up — and get (very, very) excited. Sorry.

A whirlwind of rhythm such as "Wonder 2," which closes "m b v," can only be heard for the first time once. Dinky desktop computer speakers will not do this justice. We have longed to again experience plane-landing guitars surround singer Bilinda Butcher's voice. Now we have. Even better is the surprising sound of that gentle tone in a new context: enclosed by cascading organs and keyboards on "Is This and Yes."

Maybe an explanation will help. My Bloody Valentine — singer/guitarist/founder Kevin Shields, Butcher, drummer Colm Ó Cíosóig and bassist Debbie Googe — formed in the mid-1980s as a Brit-pop band, one of many excellent artists on the then-thriving Creation Records label. After dropping a string of sweet but forgettable jangle-pop singles, Shields and band released its debut full length, "Isn't Anything." It was the sound of a candy factory exploding — a big, sweet bang of noise that hit at the same time as a new batch of indie guitar gods with names like Thurston Moore (Sonic Youth), J. Mascis (Dinosaur Jr.) and Robin Guthrie (Cocteau Twins) were eking unearthly tones from their instruments. You can borrow "Isn't Anything" if you quit whining about the volume over here.

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Over the next few years Shields helped set the conversation, combining the throbbing rhythms of nascent British electronic dance music with towers of drenched chords. On EPs "Tremolo" and "Glider," the band delivered dense bursts of sound while steady, dance-friendly beats, often buried in the mix, encircled the noise with structure. The echoes of these innovations reverberated throughout Britain and America, and have aged to become standard textures of guitar rock.

"Loveless" confirmed a band with a near spiritual understanding of melody, feedback, rhythm — and love. When My Bloody Valentine toured America with Dinosaur Jr. in the early '90s many ears, including these two, heard harmonic overtones they'd never experienced live before. It's like our eardrums had been dosed with MBV LSD.

And then, silence — deafening, sporadically tempered by the occasional remix, live performance (Coachella, Santa Monica Civic Auditorium). Shields never retired. But his output decreased.

Apparently he was building, because on Saturday night My Bloody Valentine's thirdalbum was released online at the band's website. The rush of fans overloaded the servers. By Sunday morning the record was available, and nervous fans were faced with a long-simmering wish coming true. So far, a sense of relief has blanketed Twitter. Shields and company have pulled it off.

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