Though it's often seen as just a precursor to their magnum opus
Loveless, in its own way
My Bloody Valentine's
Isn't Anything is nearly as groundbreaking as their 1991 masterpiece. Not only was it the most lucid, expansive articulation yet of the group's sound, it virtually created the shoegazing scene and spawned legions of followers. The album's tightly structured songs still bore traces of
My Bloody Valentine's previous incarnation as jangly indie popsters, but
Kevin Shields and company crafted wide-ranging experiments within those confines. "Feed Me with Your Kiss"'s mix of bruising guitars, drums, and sensual boy-girl vocals define
My Bloody Valentine's signature sound, while "All I Need"'s weightless guitars and vocal melodies melt into a heady haze.
Shields' unique tunings, tremolo, and miking techniques stand out on "You Never Should" and "Nothing Much to Lose," but
Deb Googe's surprisingly funky bassline on "Soft as Snow (But Warm Inside)" reaffirms that all of
the Valentines contributed to their innovative sound. Indeed, many of
Isn't Anything's disturbingly beautiful highlights come from
Bilinda Butcher. On the wrenching "No More Sorry," she sings abstractly pained lyrics like "Your septic heart and deadly hand/Loved me black and blue," barely audible over a swarm of fragile yet menacing guitars, while on "Several Girls Galore" she's sexy, yet dazed and distant; it sounds like she's whispering in your ear outside of a blaring nightclub. The Valentines' dark side is especially prominent on the album, particularly on "Sueisfine," where the chorus slyly morphs from "Sue is fine" to "Suicide."
Isn't Anything captures
My Bloody Valentine's revolutionary style in its infancy and points the way to
Loveless, but it's far more than just a dress rehearsal for the band's moment of greatness. ~ Heather Phares