Kevin shields and bilinda butcher relationship problems

Bilinda Butcher - Wikipedia

In early November, My Bloody Valentine mastermind Kevin Shields some things Kevin can't do like the drums of Bilinda's [Butcher] vocals but. Kevin Shields on the haircuts of the mid-'80s indie scene. “It was quite a spooky place,” remembers Bilinda Butcher. “The studio was in a. Last week's issue of NME featured a list of the 20 loudest songs ever Kevin Shields and his girlfriend singer guitarist Bilinda Butcher have.

However, one source contradicts Kevin by hinting that the quarter-million figure belongs to Loveless only. Enigmatic label boss Alan McGee will only reveal "It cost a lot of money, but we all love the album". In their pre-Creation days, MBV discovered a sonic frequency which causes physical pain and purposely used it to make their live sets very uncomfortable for audiences: The fun is in watching people's faces.

That's why we light the audience up, to see their discomfort. I loved bands like the Ramones and didn't know much about the history of music, so as far as I was concerned The Ramones appeared from nowhere.

I didn't know about all these 60s garage punk bands. I was hung up for a few years on the idea that you had to be original; me and Colm spent two years making original music but it was boring and uninspired. We weren't doing it for the right reasons. An unwanted reputation for jangly feyness was foisted upon them, largely due to their weedy first efforts on Lazy, the label run by Primitives manager Wayne Morris. A stormy marriage, as Kevin recalls. Wayne Morris was just so evil to us, him and the Primitives, we fell out with him before we even finished the record.

He was so ruthless, he had no respect for the idea of people making music. The Primitives were more manufactured than any Stock Aitken Waterman band. I've seen Wayne tell the guitarist to completely change his hairstyle, he told Tracey he would have her making love to the microphone in a miniskirt within six months … and he did! With Kevin as main songwriter, the channelled feedback eruptions and bent-out-of-shape guitars on Isn't Anything hung in the air like jet-propelled abstract art, a rootless and seemingly unassailable precipice of pure pop.

Suddenly, name-checking the Valentines became hip and indie hopefuls began roughing up their sound all over Southern England. Remembering the fickleness of public opinion, Kevin questions the true extent of his band's influence. It's always impossible to see yourself in other people. Between having nowhere to live and having no real equipment, we were actually getting somewhere with an audience.

Bilinda Butcher

When we made Loveless, no money had arrived. We thought we had proven ourselves; at that point, it was the whole music scene that came after us.

People were into the whole juxtaposition of the kind of gentleness with the extreme violent side of the music.

Creation founder Alan McGee is kind of an unusual character. Our relationship with Creation was mostly through label manager Dick Green.

McGee was really excited by us, but he was never around. We were his biggest bet. Instead of us including him and bringing him in, we just sort of pushed him away. We were all homeless until after Loveless got made. The way I saw it—because I was the producer and kind of in charge of everything—I was a bit of a tyrant.

Kevin Shields

I would just really be strict. It got to the point where I lived with these songs for more than a year, and the melodies were only in my head. The average My Bloody Valentine track is about one or two guitar tracks: I could only get away with having one or two guitars at any one point because if you put a few on, then it took away from the effect, it sounded smaller and smaller. During summerReitzell and Shields began impromptu jam sessions in London where the duo "adopted a late-night recording schedule", resulting in the single " City Girl ".

In November, Shields announced plans to release My Bloody Valentine's third album online before the end of the year, [64] before announcing during a warm-up show at Electric Brixton in London on 27 January that the album "might be out in two or three days. EVOL and Sister Shields records and produces largely in mono[76] an approach influenced by Brian Wilson 's production on The Beach Boys' Pet Sounds and veteran pop producer Phil Spector.

His sound uses "texture more than technique to create vivid soundscapes". Together with the tremolo manipulation and distortionhe created a technique known as "glide guitar".

Kevin Shields - Wikipedia

It filters unwanted sounds and actually protects my ears. It becomes your first line of defence against audible stress. You just deal with it as you go along. It'll keep on happening until people reorganise the organisations. He has said that Sony Music Entertainmentupon inheriting My Bloody Valentine from Creation Records, deliberately hid the master tapes of the band's original recordings in an attempt to delay the release of EP's — Reflecting on his decision, Shields said it was "great to release the record without any industry interaction at all, but it also meant that it was a bit too expensive to buy, so we're going to try to make it cheaper by working with various record companies in the future", though ruling out agreements with major labels.