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1991 studio album past My Encarmine Valentine

Loveless
My Bloody Valentine - Loveless.png
Studio anthology by

My Encarmine Valentine
Released November 1991 (1991-11) [a]
Recorded February 1989 – September 1991
Genre
  • Shoegaze[two]
  • dream pop[3] [4]
  • noise rock[five]
  • avant-rock[6]
Length 48:31
Label
  • Creation
  • Sire
  • Domino[7]
Producer
  • Kevin Shields
  • Colm Ó Cíosóig
My Encarmine Valentine chronology
Tremolo
(1991) 		Loveless
(1991) 		EP'due south 1988–1991
(2012)
My Bloody Valentine studio album chronology
Isn't Annihilation
(1988) 		Loveless
(1991) 		m b v
(2013)
Singles from Loveless
  1. "But Shallow"
    Released: March 1992

Loveless is the second studio album by the Irish-English rock band My Encarmine Valentine. It was released November 1991[a] in the Great britain by Creation Records and in the United states of america past Sire Records. The album was recorded between February 1989 and September 1991, with vocalist and guitarist Kevin Shields leading sessions and experimenting with guitar vibrato, nonstandard tunings, digital samplers, and meticulous production methods. The ring hired xix unlike studios and several engineers during the album's prolonged recording, with its last production toll rumoured to have reached £250,000 (equivalent to £480,000 in 2021).

Preceded by the EPs Glider (1990) and Tremolo (1991), Loveless reached number 24 on the UK Albums Chart and was widely praised past critics for its sonic innovations and Shields' "virtual reinvention of the guitar".[eight] Nonetheless, after its release, Creation possessor Alan McGee dropped the band from the label as he found Shields too hard to work with, a factor alleged to have contributed to the label'southward eventual defalcation. My Bloody Valentine struggled to record a follow-upwardly to the album and bankrupt upwardly in 1997, making Loveless their last full-length release until m b v in 2013.

Since its release, Loveless has been widely cited by critics as one of the greatest albums of all time, a landmark work of the shoegaze subgenre, and as a significant influence on various subsequent artists. In 2012, it was reissued equally a 2-CD set, including remastered tracks and a previously unreleased half-inch counterpart record version, and peaked on several international charts. In 2013, Loveless was certified silver by the British Phonographic Industry.[nine]

Recording [edit]

My Encarmine Valentine were scheduled to record at Blackwing Studios in Southwark, London for February 1989, and intended to conceptualise a new, more than studio-based sound for their second anthology.[10] Guitarist Kevin Shields said their label Cosmos Records believed the anthology could be recorded in five days. According to Shields, "when it became clear that wasn't going to happen, they freaked".[11] After several unproductive months, the band relocated in September to the basement studio The Elephant in Wapping, where they spent eight unproductive weeks. In-house engineer Nick Robbins said Shields made it clear from the outset that Robbins "was just there to press the buttons". Robbins was quickly replaced by Harold Burgon, but according to Shields, Burgon's main contribution was to show the group how to use the in-studio calculator.[12]

Burgon and Shields spent three weeks at the Woodcray studio in Berkshire working on the Glider EP, which Shields and Creation possessor Alan McGee agreed would exist released in advance of the anthology. Alan Moulder was hired to mix the Glider song "Soon" at Tridenttwo studio in Victoria; the song later on appeared as the closing track on Loveless. Shields said of Moulder, "As soon as nosotros worked with him we realized nosotros'd beloved to some more!"[xiii] When the group returned to work on the album, Moulder was the sole engineer Shields trusted to perform tasks such as micing the amplifiers; all the other credited engineers were told "We're and so on meridian of this yous don't even have to come to piece of work."[fourteen] Shields said that "these engineers – with the exception of Alan Moulder and later Anjali Dutt – were all simply the people who came with the studio... everything nosotros wanted to exercise was wrong, according to them."[15] The ring gave credit on the album sleeve to all present during the recordings, "even if all they did was fix tea", according to Shields.[12]

Kevin Shields performing with My Bloody Valentine in 1989

During the spring of 1990, Anjali Dutt was hired to replace Moulder, who had left to work with the bands Shakespears Sis and Ride. Dutt assisted in the recording of vocals and several guitar tracks.[sixteen] During this period, the band recorded in various studios, oftentimes spending a single day at a studio before deciding it was unsuitable. In May 1990, My Bloody Valentine settled on Protocol in Holloway every bit their primary location, and work began in earnest on the album, every bit well every bit a second EP titled Tremolo.[17] Similar Glider, Tremolo contained a song – "To Here Knows When" – that later appeared on Loveless. The band stopped recording during the summer of 1990 to tour in support of the release of Glider.[18] When Moulder returned to the project in August, he was surprised by how little piece of work had been completed. Past that bespeak, Creation was concerned by how much the anthology was costing.[19] Moulder left over again in March 1991 to work for the Jesus and Mary Chain.[20] In an interview with Select, Shields explained the terminate-get-go nature of his recording, using "When You Sleep" as an example:

Nosotros recorded the drums in September '89. The guitar was washed in December. The bass was done in April. 1990 we're in, now. And then nothing happens for a yr really. So it doesn't have vocals at this stage? No. Does it have words? No. Does it even have a championship? No. It has a song number. "Song 12" it was called. And... I'm trying to call up... the melody line was done in '91. The vocals were '91. There were huge gaps though. Months and months of not touching songs. Years. I used to forget what tunings I'd used.[21]

The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the beginning time singer Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio command room and the vocal berth, and communicated with the engineers just when they would acknowledge a good accept by opening the drape and waving. Co-ordinate to engineer Guy Fixsen, "We weren't allowed to listen while either of them were doing a vocal. You'd take to watch the meters on the tape car to see if anyone was singing. If it stopped, you lot knew you had to end the tape and take it dorsum to the top." On near days, the couple arrived without having written the lyrics for the vocal they were to tape. Dutt recalled: "Kevin would sing a track, and then Bilinda would get the tape and write downwards words she thought he might accept sung".[22]

In July 1991, Creation agreed to relocate the product to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the nib for their time at Britannia Row, and the studio refused to render the band's equipment. Dutt recalled, "I don't know what excuse Kevin gave them for leaving. He had to enhance the money himself to get the gear out."[23] Shields' unpredictable behavior, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said she had been desperate to leave the project, while Creation's 2d-in-control Dick Green had a nervous breakdown. Green recalled, "It was two years into the album, and I phoned Shields up in tears. I was going 'You lot have to deliver me this record.'"[23]

Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as "ill-informed hysteria".[23] Although Alan McGee was still positive about his investment, the 29-twelvemonth-quondam Light-green, who by this time was opening the characterization's morn post "shaking with fearfulness", became a business organization to his co-workers. Publicist Laurence Verfaillie, enlightened of the characterization's inability to embrace further studio bills, recalled Green's pilus turning gray overnight, which she attributed to the album.[23]

With the vocal tracks completed, a concluding mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End,[24] [25] the nineteenth studio in which Loveless had been worked on.[23] The album was edited on an aged machine that had been used to cutting together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it dorsum together from memory, but took 13 days to master the anthology rather than the usual one, to Creation's dismay.[26]

Equally the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to £250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, "the amount we spent nobody knows considering we never counted. Merely we worked it out ourselves just past working out how much the studios cost and how much all the engineers cost. £160,000 was the nigh nosotros could come to every bit the bodily coin that was spent".[27] In Green's stance, the guess made past Tune Maker was understated by £20,000, and that "once you'd fifty-fifty got it recorded and mixed, the very deed of compiling, EQ-ing, et cetera took weeks on its own".[26] In December 1991, Shields said that almost of the money claimed to have been spent on the album was simply "money to live on" over three years, with the album itself costing just "a few thousand". He also claimed that the album represented but four months' work over two years.[28] He said that most of the money spent came from the band'south own funds, while "Cosmos probably spent xv to twenty thousand pounds of their own money on it, and that'south information technology. They never showed u.s.a. any accounts, and and so they got bought out by Sony".[29]

Music [edit]

While Butcher contributed nearly a tertiary of its lyrics,[31] most of the music on Loveless was written and performed by Shields; according to Shields, he is the merely musician on the album apart from "Touched".[32] Shields causeless Butcher's guitarist duties during the recording procedure; Butcher said she had non minded considering she felt she "was never a peachy guitarist". Bassist Debbie Googe did non perform on the album, though she received a credit. Googe said, "At the beginning I used to become down [to the studio] most days but later on a while I began to feel pretty superfluous so I went down less."[33] Butcher explained, "for Kevin to actually interpret to Debbie what he had in his caput and play it correct would accept been an agonizing process."[34] Moulder said "It wasn't collaborative at all... Kevin had a articulate view of what he wanted, but he never explained information technology."[35]

Loveless was largely recorded in mono sound,[36] as Shields felt it of import that the album's sound consisted of "the guitar smack blindside in the center and no chorus, no modulation effect".[37] Shields wavers his guitar'due south tremolo bar as he strums, which contributes to the band's distinctive audio.[38] This technique – nicknamed "glide guitar" – bends the guitar strings slightly in and out of melody.[39] Shields said, "People were thinking information technology's hundreds of guitars, when it's really got less guitar tracks than nigh people's demo tapes have."[40] Unlike other bands of the shoegazing movement of the early 1990s, My Bloody Valentine did not use chorus or flanger pedals; Shields said, "No other band played that guitar like me [...] We did everything solely with the tremolo arm."[41]

Shields aimed to utilise "very simple minimal effects", which often were the consequence of involved studio work. He stated, "The songs are really but structured. A lot of them are purposely like that. That way y'all tin get away with a lot more than when you mess around with the contents."[28] In a 1992 Guitar World interview, Shields described how he achieved a sound akin to a wah-wah pedal on "I But Said" by playing his guitar through an amplifier with a graphic equaliser preamp. Later on recording the track, he bounced it to another track through a parametric equaliser while he adjusted the EQ levels manually. Asked if he could have achieved the effect more easily using a wah-wah pedal, Shields said, "In attitude toward audio, yes. But not in approach."[30]

All but two of the drum tracks were built from samples of tracks performed past drummer Colm Ó Cíosóig. Because Ó Cíosóig was suffering from concrete ailments during the recording, he recorded samples of various drum patterns he was able to perform.[42] According to Shields, "[i]t's exactly what Colm would take done, it just took longer to do."[43] Ó Cíosóig recovered enough to play alive on two songs: "Touched", which was composed and performed entirely past him, and "Just Shallow".[44] Shields believes that listeners are unable to tell the departure betwixt Ó Cíosóig's alive drumming and the drum loops aside from the tracks intended to have an obviously "sampled" sound, such equally the dance-oriented "Soon".[34] The album makes extensive use of samples; according to Shields, "Virtually of the samples are feedback. Nosotros learnt from guitar feedback, with lots of distortion, that you can brand whatsoever instrument, any one that you can imagine."[28]

The vocals, every bit provided by Shields and Butcher, are kept relatively low in the mix. They are for the most part highly pitched,[45] although at times Shields sang the college register and Butcher the lower.[46] According to Shields, because the band had spent so long working on the album's vocals, he "couldn't tolerate really clear vocals, where y'all only hear ane voice", thus "it had to be more like a sound."[47] Butcher said of her "dreamy, sensual" way vocals: "Often when we do vocals, it'due south 7:30 in the morning; I've ordinarily just fallen comatose and have to be woken up to sing."[39] To help this effect, Shields and Ó Cíosóig sampled Butcher's vocalism and reused it as instrumentation.[48] The layered vocals on "When You Sleep" were born out of frustration with trying to get the right have. Shields commented that "The vocals sound similar that because it became boring and likewise subversive trying to go the correct vocal. And so I decided to put all the vocals in. (It had been sung 12 or 13 times)."[28] He explained:

On "When Y'all Sleep" it sounds similar me and Bilinda singing together, but it's just me – me slowed down and me speeded up at the same time. Some songs we sang over and over until nosotros got bored – usually between 12 and xviii times. I started sorting through the tapes and information technology did my head in, so I just played them all together and information technology was really skilful – like ane, vaguely distinct voice.[49]

The lyrics are deliberately obscure; Shields joked that he considered rating various attempts to decipher the words on the band's website according to accuracy.[50] He claims that he and Butcher "spent manner more than fourth dimension on the lyrics than ever on the music". The words were often written in late-night 8- to x-hour-long sessions before the pair were due to record the vocals. They worked diligently to ensure the lyrics were not lacklustre, but made few changes; Shields said, "At that place'south nothing worse than bad lyrics."[51] Nonetheless, pressed by Select 'south David Cavanagh to reveal only the first line of "Loomer", Butcher refused, and Shields claimed to have "admittedly no idea" what she was singing.[52]

Tour [edit]

After the anthology'due south release, My Bloody Valentine band toured Europe, an outcome music critic David Cavanagh described as a "unique affiliate in live music".[53] To recreate the higher tones from Loveless, Shields employed American flautist Anna Quimby. According to a friend of the band, "She had a fiddling skirt on, blackness tights... she was a little indie girl. But when she blew into the flute, information technology was like fucking Woodstock."[54]

The tour became infamous for its volume. NME editor Danny Kelly attended a show he described every bit "more like torture than entertainment... I had a half pint of lager; they hitting their first note and it was so loud that it sent the glass hurtling".[54] During the post-obit U.s. tour, Shields and Butcher tested their audiences' ability to sustain noise played at high volumes. According to critic Marking Kemp; "Later about thirty seconds the adrenaline set in, people are screaming and shaking their fists. After a minute you wonder what's going on. After another infinitesimal it's total confusion. The noise starts hurting. The noise continues. Afterwards 3 minutes you lot brainstorm to take deep breaths. After four minutes, a calm takes over."[54] The tour saw My Bloody Valentine accused of criminal negligence by the music press, who took exception to the long flow of extreme white noise played during "Yous Made Me Realise". In December 2000, Mojo rated the tour the second loudest in history.[55]

Aftermath [edit]

Despite expectations for the ring to interruption through in the wake of the critical success of Loveless,[56] they cruel apart soon after and recorded but sporadically in the following two decades. Unable to deliver a third album, Shields isolated himself and "went crazy," cartoon comparisons in the music printing to the behavior of musicians such as Brian Wilson of the Beach Boys and Syd Barrett of Pink Floyd.[57] The other ring members went their ain ways; Butcher contributed vocals to Collapsed Lung's 1996 unmarried "Lath Game"[58] and ii tracks ("Ballad Night" and "Casino Kisschase") from the band's 1996 anthology Libation.[59] Googe was sighted working as a cab commuter in London[60] and formed the supergroup Snowpony in 1996.[61] Ó Cíosóig joined Hope Sandoval & the Warm Inventions,[62] while Shields collaborated with Yo La Tengo, Primal Scream and Dinosaur Jr.[63]

Shields recorded new music in his home studio, but abandoned it.[56] According to sources, some of the music was possibly influenced by jungle music.[lx] Shields said, "We did an anthology's worth of half-finished stuff, and it did only get dumped, but it was worth dumping. It was expressionless. It hadn't got that spirit, that life in it."[64] He said afterward, "I but stopped making records myself, and I suppose that must just seem weird to people. 'Why'd you exercise that?' The answer is, it wasn't as good [as Loveless]. And I e'er promised myself I'd never practise that, put out a worse record."[65] He told Magnet of his certainty in recording another My Bloody Valentine anthology, and attributed the thin output to a lack of inspiration.[66] A third My Bloody Valentine album, yard b v, was finally released in 2013, 22 years later Loveless.[67]

Disquisitional reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [63]
Entertainment Weekly A[68]
Mojo [69]
NME 8/10[seventy]
Pitchfork 10/ten[71]
Q [8]
Rolling Stone [72]
The Rolling Stone Album Guide [73]
Select 5/5[74]
The Village Voice A−[75]

Although Shields feared a critical panning,[76] Loveless received critical acclaim.[77] "An album without parallel", wrote Andrew Perry in Select. "Its creative inspiration defies belief. Though 'To Here Knows When' is pretty well the weirdest rails of the 11, that glorious distortion gives a fair signal of what to expect – the unexpected. Everything you hear confounds your thought of how a pop song should exist played, arranged and produced."[74] Martin Aston in Q wrote that "The instrumental 'Touched' is peculiarly startling, like a drunken fight between a syrupy Disney soundtrack and an Eastern mantra. All in all, Loveless amounts to a virtual reinvention of the guitar."[8]

NME reviewer Dele Fadele saw My Bloody Valentine as the "blueprint" for the shoegaze genre, and wrote: "with Loveless you could've expected the Irish / English partnership to succumb to cocky-parody or mimic The Scene That's Delighted To Eat Quiche [...] But no, Loveless fires a silver-coated bullet into the future, daring all-comers to attempt and recreate its mixture of moods, feelings, emotion, styles and, yes, innovations." While Fadele expressed some thwarting that the group seemed to disassociate themselves from dance music and reggae basslines, he ended: "Loveless ups the ante, and, withal corrupt one might notice the idea of elevating other human beings to deities, My Bloody Valentine, failings and all, deserve more than than your respect."[seventy] Melody Maker writer Simon Reynolds praised the anthology, and wrote that Loveless "[reaffirms] how unique, how peerless MBV are." He wrote, "Along with Mercury Rev's Yerself is Steam, 'Loveless' is the outermost, innermost, farthest rock record of 1991." Reynolds noted that his but criticism was that "while My Bloody Valentine accept amplified and refined what they already were, they've failed to mutate or leap into whatsoever kind of beyond."[78]

In a review for Rolling Stone, Ira Robbins wrote that "despite the record's intense power to disorient – this is real exercise-not-adjust-your-prepare stuff – the effect is strangely uplifting. Loveless oozes a sonic balm that first embraces and and so softly pulverizes the frantic stress of life."[72] Chicago Tribune critic Greg Kot wrote that the band had "written a new vocabulary for the guitar, and perhaps given it another ten years of life every bit stone'southward central instrument".[79] Spin gave Loveless a mixed review; writer Jim Greer felt it was "standard-ish and dull... The warped music is a cool thought and I recommend the album – but not on the footing of the singing or the songs."[lxxx]

While Creation were pleased with the final album, and the initial music printing reviews were positive, the label soon realised that although, in the words of plugger James Kyllo, "it was such a cute record, and it was wonderful to have information technology... information technology simply didn't audio similar a record that was going to recoup all the coin that had been spent on it."[81] Alan McGee liked the tape, but said, "It was quite clear that we couldn't bear the idea of going through that again, considering at that place was just aught to say that [Shields] wouldn't practice exactly the same once more. That'due south enough. Lets footstep back".[81] Despite a astringent shortage of coin, Creation funded a short tour of the north of England tardily in 1991. At the time the ring were making the marketing of Loveless difficult – in that location would exist no singles, and the band's name was forbidden to appear on the record sleeve. McGee was by now exhausted and frustrated. He recalled, "I thought: I went to the wall for yous. If this record bombs, I've stolen my father'south money. And they were and so... not understanding of anybody else's position."[53] Alan McGee dropped My Bloody Valentine from Creation soon after the album's release because he could non deport working with Shields again; "Information technology was either him or me," he told The Guardian in 2004.[57] Loveless peaked at number 24 on the UK Albums Nautical chart, and failed to chart in the United States, where it was distributed by Sire Records.[77] In 2003, Rolling Rock estimated that Loveless had sold 225,000 copies.[82]

Accolades [edit]

Loveless has been a consistent critical favorite. It came in at number 14 in the 1991 Village Vocalisation Pazz & Jop critics' poll.[83] In 1999, Pitchfork named Loveless the best anthology of the 1990s.[84] However, in its 2003 revision of the list, the album was moved to number two, swapping places with Radiohead'south OK Reckoner.[85] Pitchfork too named Loveless the greatest shoegaze album of all time.[86] In 2000, the album information technology was voted number 63 in Colin Larkin's All Time Meridian yard Albums.[87] In 2003, Rolling Stone ranked it number 219 on its list of the 500 greatest albums of all time,[82] 221 in a 2012 revised list[88] and 73 in some other revised list published in 2020.[89] In 2004, The Observer ranked information technology at number 20 in its "100 Greatest British Albums" listing, declaring it "the last groovy extreme rock anthology."[90]

The album was ranked at number 22 on Spin'southward list of "100 Greatest Albums 1985–2005," with Chuck Klosterman writing that "whenever anyone uses the phrase swirling guitars, this record is why. A attestation to studio product and single-minded perfectionism, Loveless has a layered, inverted thickness that makes harsh sounds soft and frail moments vast."[35] In 2008, Loveless topped The Irish Times ' "Top 40 Irish Albums of All Fourth dimension" critics' list,[91] and in 2013, information technology placed 3rd in the Irish Independent 'southward "Tiptop 30 Irish Albums of All Fourth dimension" list.[92] In 2014, it placed ninth on the Alternative Nation site's "Top 10 Underrated 90'southward Alternative Stone Albums" list.[93] In 2013, NME ranked the album at number 18 on its "500 Greatest Albums of All Time" list.[94] The album was also included in the book 1001 Albums You lot Must Hear Before You Dice.[95] In 2020, Paste named it the 8th-best album of the 1990s and the second-best dream pop album of all time.[96] [97]

Publication Honour Rank
Irish Independent Elevation xxx Irish Albums of All Fourth dimension three
The Irish Times Peak 40 Irish Albums of All Time ane
NME 500 Greatest Albums of All Time 18
Paste The 90 Best Albums of the 1990s viii
Paste The 25 Best Dream Pop Albums of All Fourth dimension 2
Pitchfork 100 Greatest Albums of the 1990s 2
Pitchfork The l All-time Shoegaze Albums of All Time 1
Rolling Rock 500 Greatest Albums of All Time 73
Spin 100 Greatest Albums 1985–2005 22

Legacy [edit]

Loveless has been influential on a large number of genres and artists. Clash called the anthology "the magnum opus of the shoegazing genre... information technology raised the bar so high that it afterwards complanate under its own weight," leading to the dissipation of the style.[98] Critic Jim DeRogatis wrote that "the forward-looking sounds of this unique disc have positioned the band as one of the well-nigh influential and inspiring bands since the Velvet Hugger-mugger."[99] Authors Paul Hegarty and Martin Halliwell wrote that the album "might be and so progressive that nothing else volition ever match information technology."[100] Metro Times chosen the anthology "the high-water mark of shoegaze," writing that its "dense production and hypnotic atmosphere drugged listeners with its sound'due south lovely oxymoron: at once difficult and soft, up-tempo and languid, lascivious and frigid."[101] Paul Lester of The Guardian called it "the Pet Sounds of Uk avant-rock."[6]

Musician Brian Eno said that "Shortly" "set a new standard for pop. Information technology's the vaguest music ever to have been a hit."[102] Robert Smith of the Cure discovered Loveless subsequently a flow of nigh exclusively listening to disco and/or Irish bands such as the Dubliners as a means of avoiding his contemporaries and said, "[My Bloody Valentine] was the first ring I heard who quite clearly pissed all over us, and their anthology Loveless is certainly one of my all-fourth dimension three favourite records. It's the sound of someone [Shields] who is so driven that they're demented. And the fact that they spent so much time and coin on information technology is so excellent."[103] Baton Corgan of the Great Pumpkins told Spin: "It's rare in guitar-based music that somebody does something new [...] At the fourth dimension, everybody was like, 'How the fuck are they doing this?' And, of course, it'due south way simpler than anybody would imagine."[35] [b] Greg Puciato of the Dillinger Escape Plan named Loveless one of the albums that inverse his life, recalling: "When I was younger, I simply listened to riffs and vocals and a more traditional style of limerick. So when I heard this My Encarmine Valentine record it was so abstruse and strange in creative terms that information technology ended up taking me on other musical paths."[106]

The band Japancakes recorded a cover anthology of "Loveless" which includes every song from the original in the same sequence. The embrace album was released on Darla Records in 2007.[107]

Track listing [edit]

All tracks are written by Kevin Shields, except where noted.

No. Title Lyrics Music Length
i. "Just Shallow" Bilinda Butcher Shields 4:17
2. "Loomer" Butcher Shields 2:38
3. "Touched" (instrumental) Colm Ó Cíosóig 0:56
4. "To Here Knows When"
  • Butcher
  • Shields
 Shields 5:31
5. "When Y'all Slumber" four:xi
half-dozen. "I But Said" 5:34
7. "Come up in Alone" 3:58
8. "Sometimes" v:19
ix. "Blown a Wish" Butcher Shields 3:36
10. "What Yous Want" 5:33
11. "Presently" 6:58
Total length: 48:31

Personnel [edit]

All personnel credits adapted from Loveless 'due south liner notes.[108]

My Bloody Valentine

  • Colm Ó Cíosóig – drums, sampling keyboard
  • Bilinda Butcher – vocals; guitar (credited, does not perform)
  • Debbie Googe – bass (credited, does not perform)
  • Kevin Shields – guitar, vocals, sampling keyboard; bass (uncredited)

Production and mixing

  • Kevin Shields (except on "Touched")
  • Colm Ó Cíosóig (on "Touched")

Artwork and release

  • My Encarmine Valentine – embrace concept
  • Angus Cameron – photography
  • Ann Marie Shields – coordination

Charts [edit]

Certifications [edit]

Notes [edit]

  1. ^ a b Although Melody Maker states that the album was released on 11 November, likewise as the United kingdom of great britain and northern ireland Official Charts recording that it entered the top 40 later its first week of release w/c 17 November, at that place is a clear consensus in reputable magazines, and it is declared by the band themselves and Creation Records, that the album was released on 4 Nov.[one]
  2. ^ Corgan afterward recruited Alan Moulder to coproduce the Pumpkins' Mellon Collie and the Infinite Sadness (1995). Trent Reznor of Ix Inch Nails, who praised the album's diversity and production,[104] too worked with Moulder on his The Fragile.[105]

References [edit]

Citations [edit]

  1. ^ Creation Records:
    • Nash, Stewart (3 November 2016). "My Encarmine Valentine'south Loveless turns 25". Creation Records . Retrieved five November 2021.
    My Bloody Valentine:
    • "happy altogether loveless". Twitter. 4 Nov 2021. Retrieved 5 November 2021.
    Media:
    • "My Bloody Valentine Released "Loveless" 30 Years Ago Today". Magnet Magazine. 4 November 2021. Retrieved 5 Nov 2021.
    • "My Bloody Valentine masterpiece 'Loveless' turns 30". Far Out Magazine. 5 Nov 2021. Retrieved 5 Nov 2021.
    • Winograd, Jeremy (four Nov 2021). "No Dearest Lost: My Bloody Valentine's Loveless at 30". Camber Magazine . Retrieved v November 2021.
    • Thill, Scott. "An Open up Beloved Letter to My Bloody Valentine'due south Loveless". Wired . Retrieved 5 November 2021.
    • "Loveless Turns twenty". Stereogum. 4 Nov 2011. Retrieved v Nov 2021.
  2. ^ Phares, Heather (northward.d.). "Loveless – My Bloody Valentine". AllMusic. Archived from the original on 12 June 2019. Retrieved 12 June 2019.
  3. ^ Zaleski, Anne (half-dozen February 2013). "My Bloody Valentine Finally Follows Through On Its Post-'Loveless' Hope". Las Vegas Weekly. Archived from the original on 22 December 2015. Retrieved 22 December 2015.
  4. ^ "100 Greatest Albums 1985-2005: No.22 'Loveless'". Spin. July 2005. p. 78. ISSN 0886-3032. Archived from the original on twenty July 2021. Retrieved fifteen Nov 2020.
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Bibliography [edit]

  • Belhomme, Guillaume (2016). My Bloody Valentine: Loveless. France: Densité. ISBN978-2-9192-9605-vii.
  • Cavanagh, David (2000). The Creation Records Story: My Magpie Eyes Are Hungry for the Prize. London: Virgin Books. ISBN0-7535-0645-nine.
  • DeRogatis, Jim (2003). Turn On Your Mind: 4 Decades of Cracking Psychedelic Rock. Milwaukee: Hal Leonard Corporation. ISBN0-634-05548-viii.
  • Kuroda, Takanori (2014). マイ・ブラッディ・ヴァレンタインこそはすべて / All We Need Is My Bloody Valentine. Japan: Disc Union Books. ISBN 978-four-925064-92-7.
  • Hegarty, Paul; Halliwell, Martin (2011). Beyond and Before: Progressive Stone Since the 1960s. New York: The Continuum International Publishing Group. ISBN978-0-8264-2332-0.
  • McGonigal, Mike (2007). Loveless. New York: The Continuum International Publishing Group Inc. ISBN978-0-8264-1548-6.

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