My Bloody Valentine: barbed wire and aliens in the garden - Telegraph
Their sound bore the heavy imprint of the Jesus and Mary Chain, whose Dave Conway and arrival of Bilinda Butcher, who now shared vocals (and soon a . Shields and Butcher's relationship began to unravel (hence the title circle knew it at the time, Loveless was virtually a Kevin Shields solo album. In early November, My Bloody Valentine mastermind Kevin Shields some things Kevin can't do like the drums of Bilinda's [Butcher] vocals but. "My Bloody Valentine are not rock'n'roll, they are God! of the band's UK tour, My Bloody Valentine mainman Kevin Shields cowers in bashful dealings with MBV , or how the strain has affected their relationship with the group. the nascent Valentines – now incorporating guitarist Bilinda Butcher, bassist.
That comes from my grandfather. John Peel once said on his show that I was being pretentious and tried to be special by spelling my name differently. Where did you grow up? First in London and then in Derbyshire. In London, punk ruled but further north people listened to northern soul.
I loved northern soul and used to go to all-dayers since I was too young to go to clubs.
You know they had the all-nighters at Wigan Casino, that was the place to go. There were a couple of places, Nottingham Palais and Matlock Bath who arranged all-dayers instead. You went there in the morning, listened to music and danced all day. What type of area did you live in?
Bilinda Butcher - Wikipedia
We were living in an area called Golden Valley, it had one pub and a couple of houses and it was all very conservative. A friend of mine dyed his hair green one day. When my mother saw him she forced him to wash it with Ajax before his mum would see it. Probably pretty embarrassing for you? She was a bit special. To dye your hair was very uncommon at the time, it was something you would perhaps do if you lived in the city centre of Nottingham or Derby.
In Golden Valley, I was considered a weirdo. My clothes were different. For a long time, I only wore clothes from the s that I bought in a shop called Penny Feathers in Nottingham. My friend Dian — the guy who dyed his hair — had a portable gramophone that we used to bring to the forest where we listened to records.
My mother thought I was up in the clouds. I never watched the news or read the papers; it was like I lived in another era. Primal Scream frontman Bobby Gillespie has said that "[Shields] brings something that nobody else in the world can bring. He plays guitar the way that nobody else in the world plays guitar," adding that Primal Scream considered Shields to be "part of the family, very much so. Shields became involved with the score after being contacted by the film's music co-ordinator Brian Reitzell while in Tokyo, Japan.
During summerReitzell and Shields began impromptu jam sessions in London where the duo "adopted a late-night recording schedule", resulting in the single " City Girl ". In November, Shields announced plans to release My Bloody Valentine's third album online before the end of the year,  before announcing during a warm-up show at Electric Brixton in London on 27 January that the album "might be out in two or three days.My Bloody Valentine Interviews
EVOL and Sister Shields records and produces largely in mono an approach influenced by Brian Wilson 's production on The Beach Boys' Pet Sounds and veteran pop producer Phil Spector. His sound uses "texture more than technique to create vivid soundscapes".
Together with the tremolo manipulation and distortionhe created a technique known as "glide guitar". It filters unwanted sounds and actually protects my ears. It becomes your first line of defence against audible stress. You just deal with it as you go along. They felt strained, but nothing special: However, one source contradicts Kevin by hinting that the quarter-million figure belongs to Loveless only.
My Bloody Valentine: Kevin Shields Sets The “Loveless” Record Straight
Enigmatic label boss Alan McGee will only reveal "It cost a lot of money, but we all love the album". In their pre-Creation days, MBV discovered a sonic frequency which causes physical pain and purposely used it to make their live sets very uncomfortable for audiences: The fun is in watching people's faces. That's why we light the audience up, to see their discomfort. I loved bands like the Ramones and didn't know much about the history of music, so as far as I was concerned The Ramones appeared from nowhere.
I didn't know about all these 60s garage punk bands. I was hung up for a few years on the idea that you had to be original; me and Colm spent two years making original music but it was boring and uninspired. We weren't doing it for the right reasons. An unwanted reputation for jangly feyness was foisted upon them, largely due to their weedy first efforts on Lazy, the label run by Primitives manager Wayne Morris.
A stormy marriage, as Kevin recalls.
TD Archive: My Bloody Valentine's Bilinda Butcher Interviewed
Wayne Morris was just so evil to us, him and the Primitives, we fell out with him before we even finished the record. He was so ruthless, he had no respect for the idea of people making music. The Primitives were more manufactured than any Stock Aitken Waterman band. I've seen Wayne tell the guitarist to completely change his hairstyle, he told Tracey he would have her making love to the microphone in a miniskirt within six months … and he did!
With Kevin as main songwriter, the channelled feedback eruptions and bent-out-of-shape guitars on Isn't Anything hung in the air like jet-propelled abstract art, a rootless and seemingly unassailable precipice of pure pop. Suddenly, name-checking the Valentines became hip and indie hopefuls began roughing up their sound all over Southern England. Remembering the fickleness of public opinion, Kevin questions the true extent of his band's influence.