My Bloody Valentine: mannytoodope: Kevin Shields and Bilinda Butcher
Click here to visit our frequently asked questions about HTML5 video. Conway and arrival of Bilinda Butcher, who now shared vocals (and soon a bed) with . Shields and Butcher's relationship began to unravel (hence the title circle knew it at the time, Loveless was virtually a Kevin Shields solo album. 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. TD Archive: My Bloody Valentine's Bilinda Butcher Interviewed. Posted October Colm was homeless and Kevin's and my relationship was cracking. Quite frankly we We were haunted by technical problems! In the end we.
Collaborations and Lost in Translation[ edit ] Following My Bloody Valentine's disbandment, Shields embarked on a number of collaborations with other artists, both as a guest musician and producing, engineeringmixing and Remixing other acts. Shields contributed guitar loops to two Experimental Audio Research albums: The Best of Dinosaur Jr. He contributed guitar, produced and mixed tracks on two of the band's studio albums: Primal Scream frontman Bobby Gillespie has said that "[Shields] brings something that nobody else in the world can bring.
He plays guitar the way that nobody else in the world plays guitar," adding that Primal Scream considered Shields to be "part of the family, very much so. Shields became involved with the score after being contacted by the film's music co-ordinator Brian Reitzell while in Tokyo, Japan. 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,  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 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". 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.
Bilinda Butcher - Wikipedia
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. Most of the bands that are seen to be influenced by us, their strange sounds come from using lots of effects. There's no effect in existence you could plug into and have our sound, it's just the way we treat things, mainly the tremolo arm on our guitars … the way I think about sound is like a picture in my head, a textured picture.
I'm thinking of writing them down some day.
Singer Mark Gardiner acknowledges the inspiration but denies jumping on the bandwagon: We're on Creation for the same reason a lot of bands are, because it's a label that lets you do what you want, they give you freedom.
To me all these bands don't sound alike at all. Despite a professed love of Ecstasy, House and especially hip-hop — "it beats the shit out of most rock music when it comes to being experimental, it's been a constant source of inspiration to us" — Kevin generally avoids clubs and pop-star ligging.
His long-term involvement with Bilinda and her eight-year-old son Toby keeps him away from frantic socialising, but does this relationship fuel MBV's music? I read in the Guardian that our house had been taken over by neglected ratty creatures that we kept in a cage laughs.
They also stated that we had barbed wire everywhere. I think someone described Kevin as a Howard Hughes-like person who never washed.
I think it was in a book about Creation Records. The only odd thing about him was that he slept at weird hours. We probably smoked too much in that house, but he needed to revitalise himself and recoup his strength. For me it took several years, all the fighting had us all feeling really drained. You said that you never really did interviews back in those days.
It just happened that way.
How come you spell your name Bilinda and not Belinda? That comes from my grandfather. John Peel once said on his show that I was being pretentious and tried to be special by spelling my name differently. Where did you grow up? First in London and then in Derbyshire. In London, punk ruled but further north people listened to northern soul.
I loved northern soul and used to go to all-dayers since I was too young to go to clubs. You know they had the all-nighters at Wigan Casino, that was the place to go.My Bloody Valentine - Full unedited interview with Kevin and Bilinda from Snub 1991
There were a couple of places, Nottingham Palais and Matlock Bath who arranged all-dayers instead. You went there in the morning, listened to music and danced all day. What type of area did you live in? We were living in an area called Golden Valley, it had one pub and a couple of houses and it was all very conservative. A friend of mine dyed his hair green one day.