This is quite an old piece, a year or more old. It was written at a time when I was really trying to translate the feeling of listening to music and craft my informational writing to cram in a lot of detail. At the moment I’m trying to write shorter paragraphs to break things open better. Note, as I have written elsewhere that I failed to pick up on the over compression that was found by Pitchfork. With that said, listening again I still enjoy the music.
I was originally writing this as part of the second instalment of the My Bloody Valentine: EPs 1988-91 review but decided it would make sense to spin it out as it is more of an artistic profile than a part of the track by track review. I decided I wanted to break away from the dynamics of gender and sex for a moment when describing My Bloody Valentine, because despite the theory often sounding reasonable it just does not seem pertinent half the time. This came up in conversation yesterday when I was watching footage of one of Primal Scream's Screamadelica gigs. For all the rock'n'roll clichés, gender seemed the last thing worth discussing. Certainly not from the standpoint of diagnosing patriarchal societies or something like that. Reading this blog post about Oneohtrix Point Never inspired me a little. More after the jump.
