Review: Slowdive's 2017 self-titled album, reissued on red opaque vinyl, marks their triumphant return after a 22-year hiatus. Known as pioneers of shoegaze, the band initially faded from the spotlight, but their resurgence proves they haven't lost their edge. This album is a continuation of the sonic journey that began with Souvlaki, though it leans into a more energetic, contemporary sound. Tracks like 'Star Roving' and 'Don't Know Why' showcase a faster tempo and layers of effects reminiscent of modern shoegaze bands, yet still rooted in Slowdive's dreamy, atmospheric core. Neil Halstead's songwriting shines, especially on tracks like 'Sugar for the Pill', which echoes the intricate arrangements of their earlier works, while Rachel Goswell's vocals add emotional depth throughout. The interplay between the two on 'Go Get It' is particularly powerful, embodying the band's signature sound that fluctuates between soft and intense. Rather than a nostalgic retread, Slowdive is a fresh and vital album, blending the band's original shoegaze style with new elements. Their ability to maintain their distinctive sound after such a long break was remarkable. As Neil Halstead notes, the album captures the renewed momentum of the band, making it a fitting, forward-looking addition to their discography.
Review: Slowdive's 1991 debut Just For A Day, out again via Music On Vinyl. Less famous than their name-making lucky strike Souvlaki, Just For A Day is still a nonetheless sublime full-length shoegaze record. Nine sabresque songs opine the nostalgic feeling of a short-lived tryst, beginning with a recollection of the 'Spanish Air' and ending on a deeper musing on the 'Primal'. A must-have for any completist hooverhead, Slowdive's debut surely set the tone for a career that was yet to burgeon (and continues to flourish) and yet still retains a purity that no other record in their discography shares.
Review: Slowdive's Pygmalion stands as a profound yet overlooked gem in the band's discography. Released amidst the Britpop and grunge dominance of 1995, it was unfairly dismissed, leading to the band's quiet dissolution. However, if you revisit Pygmalion, it reveals a hauntingly beautiful departure from their earlier shoegaze roots. Now, pressed on vinyl, you can enjoy all the ways this release has stood against time and trends. The album is a minimalist masterpiece, stripping away their trademark wall of noise to reveal ethereal, ambient landscapes. Tracks like the opening epic 'Rutti' set the tone with its subdued guitar work and Neil Halstead's introspective vocals, evoking a sense of contemplative solitude. Throughout the album, space is pivotal - an expansive, cathedral-like atmosphere crafted through restrained instrumentation and atmospheric production. While critics of its time failed to appreciate its subtleties, Pygmalion now stands as a visionary work ahead of its time. Its influence can be heard in subsequent bands like Mogwai and Low, who embraced its meditative qualities and minimalist approach. In today's context, the album's tranquil melodies offer a refuge, resonating with listeners seeking solace amidst chaos. Slowdive's Pygmalion remains a shinning example to their artistic integrity and the enduring power of quiet introspection in music.
Review: First released in 1992, Slowdive's 'Blue Day' compiles the best of the band's earliest outings in the shoegaze genre, bottling them under a singly brittle, blue banner. Just seven tracks adorn its two sides, with the notable self-titled track 'Slowdive' signalling some hint of the band's origins (its wayward drumming getting at an especially happy naivete). Later moments on the record, such as 'Morningrise', are comparatively icier verging on frostbitten, with an overdriven crunch clipping off the most amped edges of the transient hits, suggesting an imperfect medium. On the B, the best of the lot is the slow colic of 'Losing Today', a song palpably packed with a sense of loss, most notably achieved via its soaring, cuspate guitar ogees, albeit ones which just about peek their heads above the shrednoise.
Review: Anticipation is running high around Slowdive's long-awaited new album. Arriving six years after their self-titled comeback in 2017, the shoegaze icons' follow-up record is a true product of the times, hampered by pandemic delays and written as a reflection on significant personal losses for band members, but equally they were never going to rush something out for the sake of it. Lead singer Neil Halstead laid down some initial demos in 2020, and then when the band could come back together they worked on recordings for two years before getting to the finished product. If you love the band's swirling, dream-like sound, you won't be disappointed by lead single 'kisses' or, indeed, any of the other tracks contained within.
Review: The return of Slowdive has been one of the minor miracles of the 21st century thus far - having originally split up in a mist of disinterest and press opprobrium in the Britpop-damaged mid-'90s, the band have watched their profile and reputation slowly rise to the extent of them now being regarded as scene pioneers and innovators. True to its eponymous name, this album is the sound of these Thames Valley charmers re-asserting everything that made them magical in the first place a full quarter century on, not to mention a dizzying collision of ethereal harmonies, heavenly guitar cascades and opiated dreamstates possessed of a timeless allure.
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