Monthly Archives: April 2019

The Best of The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Oh I am a lonely painter / I live in a box of paints / I’m frightened by the devil / And I’m drawn to those ones that ain’t afraid / I remember that time that you told me, you said / “Love is touching souls” / Surely you touched mine ’cause / Part of you pours out of me / In these lines from time to time

Just the other day a number of female writers at NPR posted a list of “the greatest albums made by women between 1964 and the present.” They said it’s to be an “intervention, a remedy, a correction of the historical record and hopefully…”

…the start of a new conversation? Well, hey ladies! Let’s get our playlist on!

Although some of the selections are obviously political—therefore “whack”—everyone loves a playlist in the summer 2017. Even if it puts Beyonce up there with Joni and Aretha…no stress. A playlist is a playlist and the women at NPR have been on the same wavelength with me this week. Turns out, I have been digging through steamy crates selecting some of my favorite heroines on wax for this week’s Idelic Hour “All Girls” playlist.

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TVD Radar: Dave Alvin, King of California 25th anniversary remastered edition in stores 6/28

VIA PRESS RELEASE | Craft Recordings is pleased to announce the 25th anniversary reissue of GRAMMY®-award winning artist Dave Alvin’s King of California. Available at streaming services and on CD, and for the first time on vinyl, the album was originally released in 1994, to critical acclaim on Hightone Records. The remastered, expanded edition includes a previously unreleased instrumental studio track, “Riverbed Rag,” along with bonus material.

Recorded in Los Angeles the day after the historic 1994 Northridge earthquake and produced by Greg Leisz, King of California had its genesis in the album’s title track, a readymade folk ballad, written for his mother, in which an aspiring suitor heads west to make his fortune in the wild, still-young Golden State. “King of California is when I decided ‘this is when I let the song tell me what it sounds like,’” says Alvin. “Ever since then, that’s been my rule. It sounds ridiculous, but it was something I had to learn.”

Featuring acoustic interpretations of some of the finest songs in his catalog, along with new, folk-inflected compositions, and notable covers, Dave Alvin found the true measure of his own voice with King of California. “It was ironic that for a guy who was known as a loud guitar player and questionable singer, his best seller was an acoustic album,” says Alvin.

Included are songs written and originally recorded during the ’80s: “Barn Burning” from American Music (1980) the debut album from The Blasters, “Bus Station” and “Leaving” from the Blasters’ Non Fiction (1983), “Little Honey,” written with X’s John Doe and featured on the Blasters’ Hard Line (1985), and “Fourth of July,” which appeared on both X’s See How We Are (1997) and on Alvin’s solo album Romeo’s Escape (1987). “Every Night About This Time” also appeared on the latter album.

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Demand it on Vinyl: Dead Kennedys, DK40 3CD set in stores 4/26

VIA PRESS RELEASE | Out of the hundreds of punk bands that emerged from the late ’70s punk scene, only about a dozen or so have achieved iconic status four decades later. They include the Sex Pistols, the Clash and the Damned from the U.K.; the Ramones and Patti Smith Group from New York; X, the Germs and Black Flag from Los Angeles; and from San Francisco, the Dead Kennedys.

The DKs embodied the spirit of punk from the get-go. Their very name was a shocking reminder of the collapse of the American Dream. Then again, the name would be nothing if the Dead Kennedys didn’t have the goods to back it up. DK40, a three-CD live collection due April 26 from Manifesto Records, offers the aural evidence that the Dead Kennedys were one of the most potent punk bands — period. It features the band serving up amped-up live versions of all their classic tracks, free from the constraints of the recording studio.

Formed in 1978 after guitarist East Bay Ray’s ad in The Recycler attracted the attention of singer Jello Biafra, they were soon joined by bassist Klaus Flouride; guitarist 6025 and drummer Ted. D.H Peligro soon took over the rule of the drum chair.

After gigging around the Bay Area, they soon built a reputation cemented by the release of their first single, “California Über Alles,” on their own DIY label, within a year of their formation. Over a boleroesque rhythm consisting of pounding drums, throbbing bass and jagged guitar lines, Biafra lays into then-and-future California Governor Jerry Brown and the hippy dream. The song includes such memorable lines as “It’s the suede denim secret police / They have come for your uncool niece.”

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Our Jazz Fest Picks
for the First Weekend,

When Saturday and Sunday roll around at the New Orleans Jazz and Heritage Festival, festers have to contend with massive crowds. One strategy I find that is fool-proof is to go where they’re not. So today, I’m not even going to mention the big acts. If you’re reading this, you already know about them. Here are our picks for Saturday, April 27. The full schedule is here.

Veteran New Orleans guitarist and singer Spencer Bohren leads a band of younger musicians appropriately called the Whippersnappers. The group features his son Andre on drums among other luminaries of his generation. They are super entertaining and superb musicians to boot.

Dobet Gnahoré (pictured) is a young singer from the Ivory Coast in Africa. She has a killer band complete with lilting guitar parts and a great rhythm section. The videos I have seen feature some wild dancing while the band vamps. It should be a fun set.

While Gnahoré plays African music with modern instruments, Diassing Kunda is a traditional African drum and kora troupe from Senegal. They have very little internet presence besides a Facebook page. That’s nothing but a good thing in my opinion since you could be among the first to discover them.

Hurray for the Riff Raff hasn’t played Jazz Fest since 2016. That can’t be an oversight on the part of the festival’s organizers since the band, which is a vehicle for the songs of Alynda Segarra, is one of the best young groups to come out of New Orleans in years. More likely it’s because they have been touring constantly in support of their critically acclaimed 2017 album, The Navigator.

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Graded on a Curve:
Gary Numan,
The Pleasure Principle

I’ve never warmed up to synthesizers, and isn’t that the point? They’re supposed to sound steely cold and inhuman–they’re machines, for christ’s sake, and utterly incapable of that friendly human touch one associates with, say, Eddie Vedder or your local insurance agent.

For this reason and many others having to do with angular haircuts and architectural clothing I’ve always abhorred English synthpop. But that was before I finally managed to overcome my atavistic aversion to the stuff long enough to listen to one of the grandaddies of them all–Gary Numan’s 1979 LP The Pleasure Principle.

Nothing succeeds like excess, and on his first post-Tubeway Army outing Numan dispensed with the electric guitars and went full robot. What’s more, not only do the synthesizers sound like machines–he does too. As a result this fancy piece of state-of-the-art electronics with its telegraphic one-word song titles is as cold as Antarctica–colder even because Gary got rid off all the penguins!

The Pleasure Principle–which is all about the pleasures and perils of alienation, and the myriad disadvantages of being sentient–may be as frigid as a meat locker, but it’s as hook-filled as a meat locker too. But not always–Numan also tosses in some frosty and atmospheric instrumentals (“Airlane,” “Asylum”) along the lines of David Bowie’s ambient work with Brian Eno. (As for the non-instrumentals, some bring to mind Eno’s early solo work, sans quirks.)

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In rotation: 4/19/19

Little Rock, AK | New record shop headed to Little Rock’s Hillcrest neighborhood: A new record store selling and spinning new and used vinyl is headed for Little Rock’s Hillcrest neighborhood. Control Little Rock is set to open in the coming weeks as the owners and friends continue setting up the shop at 2612 Kavanaugh Blvd., which previously housed a real estate office. For the past nine months, co-creators Wes Howerton and Michael Shaeffer have been testing the waters by selling records at various Little Rock pop-up events ahead of looking for a permanent space. Howerton said it’s given them a chance to build a fanbase. He said pop-up customers have frequently asked him: “When are you opening?” The store’s focus has been on finding quality records, such as rare or iconic albums, over quantity, Shaeffer said. The opening is expected in the coming weeks, but a firm date hasn’t been set.

Lockhart, TX | Owners of new music store go on the record with LPR: Bluebonnet Records is open for business, adding another feature to a downtown district that already boasts a brewery, several eateries, clothing stores, antiques shops, art galleries and a community theater. The shop located at 112 E. Market Street sells new and used vinyl, CDs, cassette tapes, turntables, CD players, tape players, record care supplies, audio accessories and music-related gift items that include pins, stickers and jewelry. Bluebonnet Records is owned by Kana Harris, 31, and Cody Kimball, 27. The two are both musicians and began dating four years ago shortly after their band played a show together. The two recently took some time to answer some questions from the Post-Register about their new business venture and how they fit it in with a busy schedule that includes still performing with their respective bands.

Bandcamp Announces New Vinyl Pressing Service: Launching this year, the service will streamline the “financing, production, and fulfillment of vinyl records.” Bandcamp has announced a new service that allows artists to launch crowdfunding campaigns for vinyl releases. Once a campaign reaches its minimum goal, Bandcamp will press and ship the vinyl record directly to fans. Artists will maintain full control of the record’s design as well as its price. The service—which aims to streamline the “financing, production, and fulfillment of vinyl records”—is set to launch for all artists and labels later this year…Today, Bandcamp has announced its first four vinyl campaigns: Christian Scott aTunde Adjuah’s Ancestral Recall, Jim Guthrie’s Below (Original Soundtrack), Juliette Jade’s Constellation, and Mesarthim’s Ghost Condensate. Earlier this year, Bandcamp opened a brick-and-mortar record shop and performance space in Oakland, California.

New York, NY | VP Records Launches The Reggae Trail: VP Records, the world’s largest reggae label, continues the yearlong celebration of its 40th anniversary announcing today the launch of the first phase of The Reggae Trail, an interactive map of locations in New York City that helped make the music genre an integral part of life in the city over the past five decades. “The first phase of the project, launches in conjunction with Record Store Day 2019, includes New York area reggae and Caribbean record stores with significant in-house record labels,” said Carter Van Pelt, VP Records’ Director of Catalog Development. “These include several dozen initial locations, chosen from literally hundreds.” …The Trail’s first phase highlights top record st ores that brought the music to the people starting in the early 1960s. One of these is VP Records, which moved from Kingston, Jamaica, to Brooklyn and eventually Jamaica Queens in the late 1970s, becoming a major distributor and label in the global spread of reggae. After 40 years, VP Records’ flagship retail space is one of the oldest continuously operated records stores in the Northeast.

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Our Jazz Fest Picks
for Day Two, 4/26

PHOTO: JIM BROCK | Don’t forget to check out the outdoor carousal brought in from Martinique along with the traditional music of Chouval Bwa before the weekend crowds pack the Fairgrounds for the New Orleans Jazz and Heritage Festival. It’s open for rides every day from noon until 6 PM. Here are our picks for April 26. The full schedule is here.

A relatively new Mardi Gras Indian tribe, Big Chief Bird and the Young Hunters, make their third stage appearance at the Jazz Fest in the opening slot. They are followed by the second appearance of one of my favorite local bands, the horn-heavy sensation, Kumasi Afrobeat Orchestra.

A hardly noted (until now) feature on this year’s schedule are the asterisks that mark performers who played at the first Jazz Fest 50 years ago. Bassist George Porter, Jr. is being interviewed at 12:30 PM. The man plays a rubbery bass, but he has an elephant’s mind. He remembers everything going back to his days with the Meters. It should be a fascinating talk and precedes his set with the Foundation of Funk.

For Rolling Stones fans still stung by their cancellation, consider checking out Karl Denson’s Tiny Universe. Denson (pictured) is the Stones’ touring saxophonist and I bet he will play at least one of their songs to satiate the desire for some classic rock.

There are a lot of great options in the last time slot. It’s been five years since Santana played the Fairgrounds and his spiritual persona and soaring guitar work are a perfect fit for the Jazz Fest vibe. However, Jose James’ celebration of Bill Withers could be the sleeper find of the first Friday. Why else would it be in the last time slot?

Tomorrow: Our picks for Saturday, April 27 and Sunday, April 28.

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TVD Radar: Pixies’ Doolittle earns platinum status, vinyl reissue in stores 7/12

VIA PRESS RELEASE | On April 17, 1989 in the UK and April 18, 1989 in the US, the Pixies’ second studio album Doolittle—the album now considered one of the quintessential alternative rock albums of the 1980s, that introduced the band’s signature “loudQUIETloud” sound, landed on a plethora of all-time “Best” lists in media outlets including Rolling Stone, NME, SPIN, Q and Pitchfork, the album that, when writing “Smells Like Teen Spirit,” Nirvana’s late Kurt Cobain admitted, “I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies”—celebrates its 30th anniversary with a Platinum certification in recognition of one million units sold.

Produced by Gil Norton, Pixies – Black Francis/rhythm guitar, vocals, Joey Santiago/guitar, David Lovering/drummer, and original bassist Kim Deal – recorded Doolittle at Boston’s Downtown Recorders starting in the fall of 1988. The 15-track album, with its quirky, melodic sound and darkly humorous lyrics, was rooted in winos and hobos, Biblical violence, Hebrew numerology, torture, death, and surrealism.

Doolittle’s track listing was formidable—five of its 15 songs landed on a Rolling Stone Readers Poll that named the Top 10 Pixies songs of all time—”Wave of Mutilation,” “Hey,” “Debaser,” “Monkey Gone To Heaven,” and “Here Comes Your Man,” the latter two becoming Top 5 singles on Billboard’s Modern Rock/Alternative chart over the summer of 1989. London’s Daily Telegraph called the album “a scintillating rock’n’roll album,” the NME wrote, “‘Doolittle’ is consistently brilliant…let’s be honest: this is what music was made for,” and in its five-star review, Rolling Stone remarked that it “laid the groundwork for Nineties rock.”

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Greg Holden,
The TVD First Date

“Just like I would fight to the death to prove that film photography looks and feels better than digital photography, I would do the same for vinyl records versus digitally streamed or downloaded music.”

“Music listening however—just like photography—is subjective, and most people under the age of twenty-five have likely only ever consumed music digitally (sweeping generalization there, sorry!). So I’m not about to stand here and say they are wrong for not appreciating vinyl—or film for that matter. It’s all about the personal experience, and I would never judge someone on their personal experience. That’s how religious wars start.

To me, vinyl feels like I’m in the room with the band. It feels like the sound is penetrating my very being. I can hear every nuance, every imperfection, every frequency. It’s warm, it’s dynamic, it has depth, and it feels like a living, breathing creature. I can get lost in vinyl, and I’m grateful that my turntable doesn’t stop automatically when the side is done, because it keeps me present with the record I’m listening to. I have to pay attention.

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Bonerama celebrates
the release of Bonerama Plays Zeppelin at Tipitina’s, 4/19

The trombone-driven rock band Bonerama has never been afraid to tackle cover songs despite having a deep catalog of originals. For several years they have been adding more of the songs of Led Zeppelin to their live repertoire (“Moby Dick” was featured on the first album) and eventually realized they had enough for a full album. On April 26, their new album of all Zep, Bonerama Plays Zeppelin, hits stores. On Friday night, they celebrate the release of the album at Tipitina’s. The album can be preordered here.

From the first notes of this record, which will also be available on vinyl, you know you’re in for something special. The band tackles ten songs, including most of the classics with the exception of “Stairway to Heaven,” which at least as far as this writer is concerned is nothing but a good thing.

Some of the songs are done straight up with searing vocals that will chill, and that’s saying something considering the singer who first brought these tunes to our ears. Others, the beginning of “Heartbreaker” is a case in point, are rearranged with a jazzy touch. But don’t let that scare you away because when the throaty vocals kick in, the band is right back in classic rock territory.

There are a couple of special guests on the album. Ivan Neville adds organ and clavinet on “Hey Hey What Can I Do,” which has a great trombone arrangement on the chorus, and “The Crunge.” But the biggest revelation might come right at the outset when Mark Mullins’ 18-year-old son Michael wails on “Good Times Bad Times.”

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Graded on a Curve: Contortions, Buy

Like any visionary artistic movement, the late-‘70s explosion known as No Wave was both ahead of its time and intrinsically related to its era. This is no more apparent than in the work of James Chance. As leader of the Contortions he debuted on the ’78 Brian Eno-produced compilation that essentially provided No Wave with its name, but Chance and his crew’s long-playing shining moment remains Buy. Initially released in ’79 on the ZE label, a 180gm gatefold edition with bonus cuts is currently available from Futurismo.

AAs the decades have piled up, the whole No Wave shebang has grown in stature from a dissonant and divisive intersection of punk and art into one of the 20th century’s more striking outbursts of indigenous creativity. It couldn’t have occurred anywhere other than the old, cheap, dangerous New York City, its geographical location but one of the factors causing many to disregard its emissions; hey, it’s just a bunch of arrogant Gothamites peddling pretentiousness.

For those less sensitive to matters of attitude in presentation, No Wave’s haughty stridency is inherent to its appeal. Amongst the scene’s most surly was James Chance; as detailed in his notes for Futurismo’s reissue, he left his hometown of Milwaukee after three years of conservatory study, saxophone in hand with an intention to play jazz. Sensibly he landed in NYC, but things didn’t go as planned.

It became clear that Chance, who’d gained experience playing the music of the Stooges and the Velvet Underground back in Wisconsin, was an ill fit for the burg’s loft-jazz milieu; in turn he gravitated toward CBGBs/Max’s Kansas City. Of course, he wasn’t quick to find belonging there either, and Chance and his pocket of cohorts shaped an alternative to creeping commercialism.

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In rotation: 4/18/19

AU | Around the world in 10 record stores: We all travel for different reasons. And everyone has a unique vision for what will come from their intrepid expeditions. But some passions are very much shared, and one thing everyone here at Double J is looking for when they get off the plane is a good record store… We have decided to look at ten of our favourite emporiums across the planet that we’ve been lucky enough to have a dig through over the years. These are not necessarily the best record stores in the world – that’s a very subjective call – but they are definitely worth calling into if your travels take you into these areas. What’s the most unique and exciting record store you’ve ever visited? Let us know! Seriously, please do, we are nerds and we love this stuff.

Shakopee, MN | New record store hits high notes in downtown Shakopee: I was excited to hear that a record store opened about a month ago in downtown Shakopee. When I visited it last week, I had an amazing experience. Vintage Neil Young was playing on the stereo, more than 5,000 vinyl albums (and counting) filled the bins, and authentic concert posters and other collectibles from the 60s and 70s from some of rock’s biggest names adorned the walls. The store’s atmosphere took me back to the record stores I remember as a teen—bin after bin of vinyl, music enthusiasts combing through records, great music filling the space, scented candles made by a local woman, stereo equipment, glass art, and smoking accessories on shelves and in cases. I told Steve Shanks, the store owner, I felt like I had traveled through time coming into his store. “Good,” he replied. “That’s the way I want people to feel.” The store, Ramble On Records, is located on First Avenue next to Munkabeans. It sells both new and used records.

Los Altos, CA | Foothill college radio station plays more than 100 straight hours of vinyl: When Jennifer Waits first heard about Vinylthon, an annual event that challenges college radio stations nationwide to play only vinyl records, she thought Foothill College’s radio station might be able to go for 24 hours straight. As soon as she started telling the other Foothill DJs about the idea, it quickly became clear that the station could go longer – much longer. Foothill’s KFJC 89.7 FM is aiming to play only vinyl records for seven straight days, ending at 11:59 p.m. Wednesday. As of the Town Crier’s Monday print deadline, the station was going strong. The challenge is a good way to mark the station’s 60th anniversary and bring attention to KFJC, according to Waits. “Vinyl is something that we celebrate every day, so it seemed like a perfect fit,” said Waits, also the station’s publicity director.

Santa Rosa, CA | Local latino DJ’s specialize in playing vinyl records at craft beer locations: For vinyl collectors, there is no sweeter sound than the slight scratch of a needle hitting the record. Listening to music on vinyl has made such a comeback that Record Store Day is a national event. For friends, Leslie Corral Cisneros (DJ Chiquita) and Gabriel Ferreira (DJ Chicano U Turn), their shared love of record collecting led them to form the Santa Rosa-based vinyl DJ collective, Cera Será. They met while working for AmeriCorps at Meadow View Elementary, and realized that they both loved listening to music on vinyl. Cisneros first discovered vinyl albums while attending college in San Diego. She befriended some DJs who introduced her to playing records. For Ferreira, it was an event called “Open Turntable” that sparked his interest in vinyl. “If it wasn’t for ‘Open Turntable,’ I would probably just be an album collector,” he said.

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Our Jazz Fest Picks
for Day One, 4/25

PHOTO: BRAD BARKET | The good folks who run the New Orleans Jazz and Heritage Festival have had a tough month with both the Rolling Stones and Fleetwood Mac being forced to cancel because of health issues afflicting their singers. But everything’s finally settled and it’s time to fest. TVD will be bringing you picks for every day. Here’s what looks great on what I am calling “Stones Bonus Day,” Thursday, April 25. The full schedule is here.

I always recommend Mardi Gras Indians to start your day and the Spirit of the Fi Yi Yi with Big Chief Victor Harris and the Mandingo Warriors are on the bill. But percussionist Michael Skinkus and his Cuban band Moyuba will be welcoming trumpeter Michael Ray as a special guest.

Ray has a long resume including performing with Sun Ra and Kool and the Gang. He also lived and played up a storm in New Orleans back in the 1990s. It will be great to see him back on stage at the Jazz Fest. Check out his wicked solo in the above video.

I first saw singer Amy Helm (pictured) when her late father, the Band’s drummer, Levon Helm, owned a short-lived club on Decatur Street in the French Quarter. She has a great voice and will definitely bring out some of the classic songs from her father’s repertoire.

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TVD Radar: James Taylor’s 2007 live album, One Man Band on vinyl for the first time, in stores 6/7

VIA PRESS RELEASE | Craft Recordings is pleased to announce the first-ever vinyl edition of James Taylor’s 2007 live album, One Man Band.

Available June 7th, the double-LP set is pressed on 180-gram vinyl, and housed in a deluxe gatefold jacket. Mastered by Ryan Smith at Sterling Sound and pressed at RTI, this uniquely intimate performance captures Taylor at his best—paired only with his guitar, drum machine, and esteemed keyboardist Larry Goldings (John Mayer, Sia, John Scofield) plus pre-recorded accompaniment of the Tanglewood Festival Chorus on “My Traveling Star” and “Shower The People.” Full of his signature wit and warmth, Taylor’s anecdotes—interspersed throughout the evening—offer background on some of his most popular songs.

Following a three-year tour of the same name, One Man Band marked a triumphant homecoming for Taylor. Recorded over three nights, the performances took place at the historic Colonial Theatre in Pittsfield, MA—a venue that was handpicked by the Berkshires-based singer-songwriter. The album, produced by James and Dave O’Donnell, contains 19 songs and spans material from Taylor’s five-decade-long career, touching not just on his beloved hits (“Fire And Rain,” “You’ve Got A Friend,” “Carolina In My Mind”) but also deeper cuts (“Chili Dog” off 1972’s One Man Dog; “Slap Leather” from his 1991 LP, New Moon Shine) and more recent material (“Mean Old Man” from his 2002 record, October Road).

The pared-down nature of the sets were very much a return to the singer-songwriter’s roots. In the album’s original liner notes, Taylor writes, “The last time I toured solo was in the late ’70s. That’s how I started out, just the guitar and a handful of songs. As time went by, I added other musicians because it’s great playing in a big band. But from time to time…it’s good to get back to basics and to present the songs in their original form.”

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Graded on a Curve:
My Bloody Valentine, Loveless

My Bloody Valentine’s famously obsessed frontman spent 3 long years and a whole shitload of other peoples’ money making this 1991 shoegaze classic, and he didn’t deliver a follow-up until 2013. Seems Kevin Shields found Kevin Shields a tough act to follow. As for the guy whose money he spent (Creation Records honcho Alan McGee), his verdict on the record is on the record. In 2014 he said, “Loveless is fucking overrated as fuck.”

Well I humbly fucking disagree. While there are brief moments on Loveless when my attention wanders, My Bloody Valentine’s “sheets of tampered guitar noise meet dreamy melodies and hushed vocals” recipe is a winning one. The songs contained therein are simultaneously abrasive and deliciously mesmerizing–Loveless is as hypnotic a drug as nembutal, but it won’t put you too sleep.

The formula’s simple–Shields utilizes a whole mess of tricks (reverse reverb, tremolo techniques, tuning systems, samplers, etc.) to create oceanic swells and tidal washes of guitar that he harnesses to beguiling melodies over which he and Bilinda Butcher sing like sedated angels. Every single review I’ve ever read has described the guitars on this record as “swirling,” but that’s not what I hear. I hear churning–the churning of raw distortion into creamy dream pop butter.

Both mood and volume vary–for some reason “Only Shallow” and “What You Want” are twice as loud as anything else on the LP–but for the most part what you get are a set of songs that sound, well, like some mad genius fucked with them in the studio until they sounded wrong–wrong in such a way that obliges you, dear listener, to grow an entirely new set of ears in order to hear them right. And you do. After a while the brain-melting seesaw guitars and slushy and pureed vocals not only begin to make sense but to sound inevitable–as inevitable as any great forward leap in music, or any of the arts for that matter.

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