m b v
m b v begins with a familiar sound and ends in much less settled territory. my bloody valentine return to wavering guitars and soft voices, but allow the record to change as it moves. The first section has considerable patience. Rhythm and distortion become more assertive later. That development makes the album more interesting than a straightforward repetition of an established sound.
she found now keeps its movement small and slow. Guitar layers run through each other, with singing that barely rises above them. only tomorrow gives the melody a firmer shape and lets the guitars move more forcefully. The voices remain soft, but they need not stand prominently at the front to give the songs direction.
The middle section introduces different colours. is this and yes brings an organ-like sound forward, leaving much of the familiar guitar weight behind. new you has an unusually simple pop appeal instead, with a firm bass line and a melody that quickly stays with you. The palette expands without losing the band's identity. Familiar ingredients have room to produce quite different effects.
The final tracks become less comfortable. nothing is locks its riff and drums into persistent repetition. wonder 2 connects much faster rhythmic movement with guitars that seem to pull in every direction. The ending consequently requires a different kind of attention from the quiet opening, rather than providing a predictable release.
The transitions do not all feel immediately logical, and some melodies stay hidden for a while. The record needs time to reveal its connections. That patience is well spent. m b v uses its recognisable sound as a starting point and finds enough different movements within it. The best moments connect immediate melodic pleasure with sounds that are harder to pin down.
