Album Review: ‘m b v’ by My Bloody Valentine

Embrace the noise, My Bloody Valentine is back.

Not many bands are able to pick up right where they left off after multiple decades of inactivity. But My Bloody Valentine has pulled it off with “m b v.”

Songwriter Kevin Shield’s perfectionism during the production of the group’s 1991 masterpiece, “Loveless,” led to a 22-year hiatus and contributed to the bankruptcy of the band’s record label. It’s a tough act to follow, but My Bloody Valentine has done it exceedingly well.

“Loveless” helped to define shoegaze as a genre with its raucous guitars and airy yet prominent melodies. In “m b v,” the group’s ethereal yet harsh tone is still there. The new record is loaded with fuzz and noise modulated to perfection. Bilinda Butcher and Shield’s vocals are still delicate and heavily layered, making them like an additional instrument. The lyrics are left to the listener’s imagination, one of the joys of listening to this band.

Despite the similarities, “m b v” is a considerable shift in direction for the band, especially toward the end of the album.

The first three songs sound straight out of the ’90s, like they could be B-sides of “Loveless.” “She Found Now” feels a little like a slower version of the classic “Sometimes.” The song is essentially void of percussion, save for a subtle, deep pulse of bass. Shield’s dreamy vocals are layered over a luscious fuzz guitar, which is accompanied by some cleaner guitar chords and melodies. “Only Tomorrow” introduces Butcher’s voice to the album, and thankfully it hasn’t changed at all, lending familiarity to the sound.

The next set of three take a turn for the pop side, marked by a lessening of guitars and strong synth presence. “If I Am” is a swooning tune. The guitar and flanging synth flow from one end of the sonic spectrum to the other while Butcher’s vocals add an uplifting euphoria to the track. One of the most drastic changes from the old My Bloody Valentine lies in “Is This and Yes” as there is absolutely no guitar in the song. It’s led by an organ synth and Butcher’s voice. It’s different, but still as captivating and enrapturing as anything on “m b v.”

The final three songs take another left turn. They all revolve around hypnotically driving looped beats and are the most aggressive on the record. “Nothing Is” is a loaded sample of fuzz guitar and noise over a spellbinding beat, which repeats over and over for three and a half minutes. The volume slowly swells and the sounds grow more intense as the song progresses. The track drops off suddenly, almost like the Beatles’ “I Want You (She’s So Heavy),” leaving listeners to reflect on the trance they were in for the past few minutes. The album closes with an auditory onslaught of noise and melody, like a jet engine with speakers in “Wonder 2.” “m b v” is different, but the band has just about managed to recreate its legendary sonic magic. The album is utterly immersing, with fragile melodies hidden everywhere behind walls of sound. And the halcyon noise is something only My Bloody Valentine can pull off so perfectly. The best part is that the band gives a bit of what fans know and love, and then mesmerizes in new ways.

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