Isn't Anything

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Isn't Anything album cover
Album Information

Total Tracks: 12   Total Length: 37:03

eMusic Features

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Who Are…Keep Shelly in Athens

By Lindsay Zoladz, eMusic Contributor

First things first: There's no Shelly. Though they've only been making music together for a little more than a year, the Greek duo (producer RΠЯ and vocalist Sarah P.) are already sick of explaining the joke: They grew up in a neighborhood called Kypseli. In Athens. Get it? But Keep Shelly are used to feeling a little lost in translation: Their first two EPs, In Love With Dusk and Our Own Dream, were both cult… more »

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Six Degrees of Screamadelica

By Michelangelo Matos, eMusic Contributor

It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirations informed by, and often stolen from, their peers and forbearers. It all sounds awfully formal, but it's not. It's the very nature of music — of art, even. The Six Degrees features examine the relationships between classic records and five… more »

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Behold the Shoes: A Brief History of Shoegaze

By Douglas Wolk, eMusic Contributor

No, it's not a great name: "shoegazing." Very few artists who've actually played in that style like the term; Stuart Braithwaite of Mogwai has called it "a dumb term made up by clueless... idiots... if someone called us shoegazers, I'd be pretty unhappy." The other leading candidate seems to be "dreampop," which is also not quite satisfactory. But we're stuck with those words, because it's undeniable that there's a certain tendency in rock music, especially British… more »

They Say All Music Guide

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

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