TS: 'Isn't Anything' v 'Loveless'

FMWYK adds a 'dung' to the bar each time up to 9 or something.

I taught myself 'You Never Should' and that's a fun simple indie rock tune to play.

All I Need stands out as a "sonic experiment" I think. If that's the beatless one.

Isn't Anything is about 1000x better than Loveless.

Isn't Anything is better for me, but "To Here Knows When" is in my top 10 for the decade.

Some discussion in these two posts between the various members of DRC:

https://devonrecordclub.com/2011/06/05/my-bloody-valentine-isnt-anythingyou-made-me-realise-ep-round-9-toms-selection/

https://devonrecordclub.com/2015/01/16/my-bloody-valentine-loveless-round-77-nicks-choice/

never really got the fuss about loveless tbh - isn't anything 4 lyfe

You Made Me Realise EP >>> both

'All I Need' of course isn't beatless as I said above, but it is drumless apart from that heartbeat pulse.

Playing a few tracks from IA last night, the way the bass guitar only appears brifly twice in 'Several Girls Galore' also stood out.

Yeah MBV are total masters of dynamics even when it sounds like a fuzzed out wall. Cranking "To Here Knows When" is like wind chimes on a pillow inside a tsunami.
brb just reporting myself to worst music writing thread

I remember getting Isn't Anything and thought it was creepalicious. But I listened to it recently and I've changed. It's not really a period I care to revisit, so I have to vote for Loveless, because you can dance to it. But I guess I really stan for the EP's.

happy 35th to 'isn't anything'

I love Isn't Anything because it was the first music I heard that sounded wrong in a way I found so interesting that I kept listening to it until it sounded so right.

“all I need” is probably the most loveless sounding track, the glide guitar just annihilating everything in its path like it would on “to here knows when”

Also love "All I Need" but need to point out there is no glide guitar on the track, it's an acoustic sped up 4x then fed into an alesis midiverb 2 set to reverse and spx 90 set to Hall.

"There was a drum machine beat just going like a heartbeat effect. I played an acoustic guitar to it and then it's basically an Alesis Midiverb II, it's the reverse reverb program. If I ever had a secret weapon it's the Alesis and the SPX 90 and again, it's the reverse reverb program. We wanted an SPX. In the '80s in the small to midrange studios that was the kind of reverb. You wouldn't have the higher-up Yamaha things it was just like one unit. I got into it, oddly enough, reading a Bob Mould interview going, "I used reverse reverb before U2 and people like that" and I was thinking, "What is this reverse reverb?" It reverses the envelope — it creates a sort of simulated effect, you get kind of a rhythmic effect out of it if you have any transients, anything with attack, the attack comes back slightly but you wouldn't know it from listening to the record. We did was we took the whole track and put it on a tape and sped it up a few times so it's just the sound of some really high frequency thing, and that's just the track flying at four times the speed and there's not other guitars on it, no bass on it. If you can hear a tambourine then there's a tambourine. But, basically, it could've been done on an 8-track except for the fact that I just did four or five vocal tracks."
KShields

ah very cool, thx!

thank you I am here for your 1987-1988 MBV geartalk whenever necessary.

love All I need, it blew my mind first I heard in 1998!