My Bloody Valentine
Isn't Anythying

THE REVIEW

The year was 1988, the New Wave was gasping towards its end, a band called Jesus and Mary Chain had already brought guitars back to the center of rock with a style that could only be described as a (wonderful) veil of noise and feedback over pop songs, and in Ireland, a group named My Bloody Valentine, after a Smiths-like debut (but already more distorted), was evolving to approach the musical piece with a less Dark and more evocatively mad and psychedelic flair.

That My Bloody Valentine are musically the offspring of the aforementioned Jesus and Mary Chain is indisputable, but they definitely go beyond: the fundamental difference is that while Jesus and Mary Chain drown a song that is nonetheless linear and simple in noise, conversely, My Bloody Valentine emerge the track from the noise itself; this happens in "No More Sorry" and "All I Need," with arrangements incomprehensible except after many listens, noise forefronted, distant rhythms, filtered guitars, and a voice that comes out thin and shy to form a track ethereal and elusive; a diffuse and incomplete perception, making the piece fascinating and inexhaustible to listen to; even faster, punk songs like "Sueisfine," "Feed Me With Your Kiss," and "Nothing Much To Lose," or more narcoleptic like "Several Girls Galore" and "I Can See It (But I Can't Feel It)" do not lack this effect of suspension, of "swimming in the air."
Just as surprising are the three pieces that open the album, seemingly more regular and simple: "Soft As Snow (But Warm Inside)," neurotic and fluctuating, "Cupid Love," perhaps the most melodic piece of the album, and the splendid decadent ballad "Lose My Breath," are but another face of this beautiful psychedelic "journey" of the post-modern era; ambiguous, nihilistic, noisy, decadent, yet among the most fascinating recalled in the last 20 years.