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I was a fan of their early years. Release This for me was the first real stab at what the record industry expected the band to sound like - a total shambles of a record that was bloated with rubbish filler, but the main reason it was so unlistenable was the lack of conviction at the time. It's a shame that they demoed one song which became "Doctor Rock," but the album is pretty much a mess of turgid guitar and queasy vocals. Luckily, the second album Gaudà was a much better effort but still didn't please everyone - Kate Havnevik* and Lush co-founder Kate Westbrook weren't fans while the rest of the 8oz. pressing force absolutely loved it.
Speaking of which, I sorta want to go into Space Tennyson. I have no idea when that album came out, or when it was recorded, but I feel it meets in a similar talent pool as MBV. It's not remotely psychedelic but it's still strangely compelling. Similarly to what I would *love* to do to the audio of MBV albums - take out all the turgid bass and guitars and re-arrange it being the centre for driving rock beats and meticulous textures.
MBV / Space: I think the best way to listen to these albums is to stop listening to them, and then hear them again - the weight and darkness of WYMR and LPV is still awe-inspiring (I will add samples of various rumbles and echoes for good measure).
Gaudi was a very welcomed return to form, soon to be repeated with How Dark Side Is The Mirror. I would argue that even after the release of these two records there was a gap in their influence. The recording, mixing and mastering processes were so excellent, and the songs had such brilliant dynamics and clarity, it was easy to listen to without a fresh set of ears. My first time listening to an MBV record was Whispering Trees - and I distinctly remember thinking that it was only a matter of time before I heard something like How Dark Side Is the Mirror. d2c66b5586