Slowdive-Pygmalion

Originally Written and Posted at Epinions.com on 9/28/08

After the release of 1993's Souvlaki, Slowdive reached a peak into the career both creatively and critically. Though the shoegaze genre they were apart of was in decline, the band kept the genre alive through its devoted followers. After a problematic U.S. tour due to distribution trouble from SBK Records, longtime drummer Simon Scott left the band due to creative tension. Replaced by Ian McCutcheon, the band consisting of vocalist/guitarist Neil Halstead, vocalist/guitarist Rachel Goswell, guitarist Christian Savill, and bassist Nick Chaplin forged ahead with their next record. Yet, the band's label Creation Records was already in the midst of moving ahead towards pop music after just signing Oasis to the label. Tension between the label and Neil Halstead over the band's next record emerged as Halstead went ahead to record the band's third and final album entitled Pygmalion.

Produced by Chris Hufford with seven of the nine songs written by Neil Halstead with the other two co-written with Rachel Goswell. Pygmalion is an album that marks as a huge departure from Slowdive. Moving further away from the shoegaze sound of their two previous album in favor of ambient textures, organic presentation, and minimalist arrangements. The album is a moody exploration into the ambient music genre as it's less pop-driven than previous records. Though fans of the band's earlier work might feel a bit baffled by the genre exploration. The result is a wonderful, dream-like farewell from Slowdive.

The ten-minute album opener Rutti is a ballad filled with just soft, washy guitar flourishes and Neil Halstead's haunting vocals. After two minutes of just vocal and guitar playing, shaking percussions and arpeggio-laden chimes join in along with soft drum tracks. Halstead's haunting vocals and moody lyrics set up the tone for what is to come for the entire album in its tone. Crazy For You is another ballad-driven track filled with soothing, arpeggio-guitar chimes accompanied by swift guitar washes and flourishing ambient textures. With Halstead going into a dream-like vocal range filled with imagery-laden lyrics, his vocals is filled with echo effects by its production as soft, mid-tempo drums are played along with spurts of guitar feedback. Miranda is an eerie, acoustic track filled with ambient guitar swirls in the background as a melodic acoustic guitar track plays through. With Rachel Goswell singing through her ethereal vocals, the song features loops of chants and such as Goswell sings esoteric lyrics in this ambient-drone track.

Trellisaze is an eerie, down-tempo track with warbling, tribal beats, echo-laden vocals, and shimmering guitar washes and arpeggio melodies. With eerie atmosphere tracks in the background with its shimmering guitar drones and warbling vocals, it's definitely one of the most haunting cuts on the record. Cello is a brooding yet eerie instrumental track led by ambient-laden guitar drones that plays through with sparse arrangements under a minute and forty-five seconds. J's Heaven arrives with its vibrato guitar shimmers and acoustic-like washes as Rachel Goswell sings through indistinct lyrics and ethereal, dream-like vocals. With droning guitar backgrounds and minimalist arrangements that include an array of percussion tracks, it's definitely one of the band's best songs.

Visions Of La is a short, acoustic ballad led by Rachel Goswell as she sings in a haunting vocal delivery filled with her melancholic lyrics with Neil Halstead accompanying her on an acoustic guitar. Blue Skied an' Clear is a six-minute, fifty-four second track with a smooth bass line, soft percussion beats, vibrato guitars, and Halstead's haunting, ethereal vocals filled with echo effects and somber lyrics. With its vibrato, arpeggio section in the chorus, Halstead's dream-like vocals is accompanied by an ethereal vocal background as it is laden with its ambient textures and arrangements. The song is clearly one of the band's most defining moments in terms of creating dream-like atmosphere mixed in with ambient music. The album closer All Of Us is an acoustic ballad led by its slow, plucking acoustic style accompanied by soft, droning guitar background and Halstead's haunting vocals. With a cello playing in the background, it's a fitting closer to the entire album as it ends on a soothing note.

When it was released in February of 1995, the album was met with very little reaction as it was released with no promotion or anticipation. A week after its release, Slowdive was dropped by Creation Records along with fellow shoegaze band Swervedriver. Slowdive immediately disbanded as Neil Halstead, Rachel Goswell, and Ian McCutcheon formed Mojave 3 with ex-Chapterhouse guitarist Simon Rowe. The rest of the band formed various projects in the wake of Slowdive's dissolution. Pygmalion came and went as copies for the album at the time of its release were scarce while remained unreleased in the U.S. In 2005, just as Sanctuary Records reissued the band's two previous albums, Pygmalion was also reissued but unlike its predecessors, came with no extra material.

Despite only releasing three albums in a short period of time, Slowdive however proved to be influential. Tribute albums and covers by 4AD label outfit The Hope Blister were made while controversial Asian-American film director Gregg Araki put the band's music in his films. In 2004, a two-disc compilation entitled Catch the Breeze was released just as the band was being discovered. A year later when their albums were reissued, it's clear that Slowdive is finding an audience again though Neil Halstead and Rachel Goswell are still continuing their various solo projects as well as Mojave 3.

While Pygmalion may not have the diversity or melodic-pop flourishes of its predecessor, Souvlaki. The album is still a brilliant record from Slowdive in its exploration of ambient music. Fans of the band will be happy that it's out though not in big music-selling chains while it's easily available through peer-to-peer file sharing sites. Though shoegaze purists might lean toward the band's previous two albums, they will find satisfaction into the band's exploration into a genre that is not very mainstream. In the end, for something sparse, to-the-point, esoteric, and experimental, Slowdive's Pygmalion is the album to get.

Slowdive Albums: Just for a Day - Souvlaki

(C) thevoid99 2011

Slowdive-Souvlaki (Deluxe Edition)

Originally Written and Posted at Epinions.com on 9/27/08.

Following the release of Just For a Day, Slowdive were becoming the darlings of the British indie music scene and the shoegaze genre just as it was reaching its peak in the fall of 1991. When their record was released a year later in the U.S., they got attention from the American indie scene as they toured with fellow shoegaze act Ride where two released a 7" split single. With the genre suddenly in decline with the attention towards the American grunge scene and the upcoming arrival of Brit-pop, Slowdive continued to move forward as they also got the attention of the legendary Brian Eno. The former Roxy Music keyboardist who created ambient music as well as producing works for such artists as David Bowie, Talking Heads, and U2.

Produced by Chris Hufford and Martin Nichols, Souvlaki is an album that takes Slowdive's dreamy, shoegaze sound and expand it with more music styles such as reggae dub, country, and ambient music. With Brian Eno making contributions for two tracks, the album features many songs written by its leader/vocalist/guitarist Neil Halstead while vocalist/guitarist Rachel Goswell co-writes a song with him. Along with guitarist Christian Savill, bassist Nick Chaplin, and drummer Simon Scott, Slowdive would create an album that isn't just considered their best work. It is said to be one of the last great records of the shoegaze genre.

The album opens with its leading single Alison with its bouncy, mid-tempo rhythm courtesy of Simon Scott's drums and Nick Chaplin's bass with accompaniment from the triple-guitar work of Neil Halstead, Rachel Goswell, and Christian Savill with its drones and arpeggio melodies. With Halstead's dreamy, swooning vocals filled with dream-like lyrics, Goswell joins him on the chorus along with wailing guitar drones that shimmer through the song. Machine Gun is a smoother yet mid-tempo number led by shimmering guitar chimes, bouncy bass line, and Goswell's ethereal vocals. Halstead joins in for a verse as he's accompanying himself with a washy, rhythmic acoustic guitar as it warbles with its arpeggio chimes and drones as it moves back and forth in structure. 40 Days is an up tempo, thumping number with its driving beats and droning guitars as Halstead sings a more bass-like vocal style reminiscent of the vocal style of the Jesus & Mary Chain. With Goswell accompanying on vocals, it's esoteric lyrics and wailing guitars reveal the band delving into something diverse in its dream-pop style.

Next is Sing, a song written by the band along with Brian Eno on keyboards, a brooding, mid-tempo track with shimmering guitars, ambient-style keyboards, and a smooth, pounding drum fill. The song is led by Rachel Goswell's eerie, haunting vocals filled with dark lyrics as Eno's keyboards accompany the song that explores elements of ambient music. Eno appears again in Here She Comes, a ballad filled with arpeggio-laden riffs and soft, tribal percussions as Halstead sings the song with his descriptive, harrowing lyrics. Souvlaki Space Station is a mid-tempo track with heavy bass lines, ominous drum fills, washy guitar shimmers, and droning guitar swoons. With Goswell leading through indistinct, dream-like vocals, the song is filled with warbling rhythms and droning guitar sirens. When The Sun Hits is a swooning, mid-tempo track with washy guitar rhythms filled with arpeggio chimes and Halstead's smooth vocals. With snare fills coming in for a mid-tempo rhythm and droning guitar accompaniments, Halstead's imagery-laden lyrics lead the way as the song moves back and forth from atmosphere to more rhythmic-driven.

Altogether is an atmospheric, ethereal ballad filled with swooning guitars, slow rhythms, and Halstead's smooth, engaging vocals. With Goswell singing backup, the song is filled with dream-like lyrics and swirling guitar spurts as it's a moody ballad that plays up to the band's dream-pop stature. Melon Yellow is another ballad that's more haunting and has an ominous rhythm with Halstead singing in an atmospheric, eerie vocal style. With its swooning, droning guitars and melodic arpeggio accompaniment, it's the band delving into darker territory. The album closer is Dagger, an acoustic ballad with Halstead leading the way as he sings haunting lyrics with his smooth vocals. With Goswell joining in for the second verse, the song is accompanied by soft, swirling guitars as it continues to its acoustic presentation.

In the original U.S. single-disc version of the album released in 1994 include four bonus tracks that also appears in the 2005 deluxe reissue from Sanctuary as part of the album's second disc. First is a cover of the Lee Hazelwood-Nancy Sinatra duet Some Velvet Morning. With its smooth, driving presentation of mid-tempo drums, bouncy bass, and shimmering guitar drones, Neil Halstead sings the song's cosmic lyrics as it includes tempo changes to something slower and dreamier with Rachel Goswell's vocals. Good Day Sunshine, not a cover of the Beatles song, is a throbbing, experimental instrumental track with sputtering beats and ambient, arpeggio-laden guitar melodies. With atmospheric production and guitar flourishes playing through, it's the band experimenting with ambient music that would continue further with their next album.

Missing You is another instrumental track that continues to explore electronic music with its throbbing, thumping beats, swooning guitars swirls, and hypnotic ambient overtones. With its ambient guitar drones and warbling beats and electronic shutter rhythms, it's the band going further into the world of electronic music. The final bonus track is Country Rain, written by Neil Halstead and Rachel Goswell that explores the band's interest in country music. Though the track is mostly electronic driven with its ambient overtones of electronic beats and Goswell's ethereal vocals, it's the ringing guitar work that adds an element of country music to the mix. The track also serves as a template for what Halstead and Goswell would do years later with their own band, Mojave 3.

Five tracks appearing in the second disc deluxe version of the 2005 reissue of the album include three additional tracks and two remixes. First is So Tired, a slow yet mid-tempo number with loud, washy guitar riffs, an ominous rhythm, and Rachel Goswell's haunting, dream-like vocals. With its hazy lyrics and washy, rhythm guitars with spurts of feedback drones as Neil Halstead joins in for the third verse. Moussaka Chaos is a near six-and-a-half minute instrumental suite filled with swirling, atmospheric guitar drones, chugging ambient backgrounds, and a pounding bass beat. With the guitars continuing to shimmer and drone, the track intensifies with its beats and a bouncy bass line by Nick Chaplin. In Mind is another electronic-driven track with its driving, thumping electronic beats and swooning synthesizer background. With its sputtering, wall-to-wall snare beats, Goswell sings the song with her ethereal, soothing vocals as it delves into electronic and ambient music with an array of beats as Goswell's vocals are the highlight.

Two remixes of In Mind appear in the record that continues the band's exploration into ambient music. The first is an eight-minute remix by Bandulu, filled with Goswell's vocals and swooning synthesizer backgrounds that's driven by its fast, sputtering electro-beats. With breaks of soothing, ambient swirls and soft bass beats, it's a strange yet soothing remix. The second remix by Reload, a moniker of Global Communication act Mark Pritchard, is a ten-minute, twenty-five second remix. With its sputtering, metallic, tribal-like beats and swirling layers of electronic sequences, the ambient-driven track filled with soothing synthesizers and bass-heavy beats. With Goswell's vocals popping up, it's remix is a testament to the exploration of ambient techno with spurts of noisy electronics and vocal swirls. Though its length might test more mainstream listeners, fans of esoteric music might enjoy it.

When the album was released in summer of 1993, it was immediately hailed by critics and fans of the declining shoegaze genre as a landmark album. Often considered by fans and critics as their best album, Slowdive were riding high in the U.K. despite the decline in the shoegaze genre. Yet, their attempts to breakthrough in the U.S. proved to be troubling as distribution troubles with their U.S. label SBK Records who released the album in February of 1994 with four extra tracks. Things got worse during the band's American tour to promote the album that got cut halfway short due to funding as the band continued to tour with their own funding. After the tour, creative tension emerged as Simon Scott left the group as he was replaced by Ian McCutcheon.

Souvlaki is a brilliant, hypnotic, and versatile album from Slowdive. Fans of the shoegaze genre and Slowdive must have this record as it's one of the genre's finest moments. Anyone interested in Slowdive outside of compilation releases must pick this record up though on retail, it's very hard to find. Thanks to contributions from Brian Eno and the band's exploration beyond the genre towards ambient, dub reggae, and country music. It's definitely the band's best album. In the end, for a record that's soothing, noisy, and willing to sooth you down, Souvlaki is the album to get from Slowdive.

Slowdive Albums: Just for a Day - Pygmalion

(C) thevoid99 2011

Slowdive-Just for a Day (Deluxe Edition)

Originally Written and Posted at Epinions.com on 9/25/08

Of the bands that came out of the shoegaze genre in the U.K., Slowdive was the band that stood more than anyone. Even against the much-beloved, widely-acclaimed My Bloody Valentine. Formed in 1989 by vocalist/guitarist Neil Halstead and vocalist/guitarist Rachel Goswell along with guitarist Christian Savill, bassist Nick Chaplin, and drummer Adrian Sell. The Reading, England quintet were already fans of the burgeoning shoegaze scene. When Sell left the band in 1990 and replaced by Simon Scott, the band released an EP that helped get them a deal with the famed indie label Creation Records. Two more recordings led the band to record their full-length debut album entitled Just For a Day.

Produced by Chris Hufford with songs written by Neil Halstead, Just For a Day is an album that features the band's unique approach to the shoegaze sound. Filled with dreamy melodies, the atmospheric vocals of Neil Halstead and Rachel Goswell, and rich guitar work. More dream-pop than My Bloody Valentine, less rockier than Ride, and less melodic-driven than Lush. Slowdive has a unique sound that stands them out against their contemporaries as the result isn't just a great debut, but one of the best records of the shoegaze genre.

The album opener Spanish Air is a slow, bass-pounding track with Nick Chaplin's wobbly bass line, Simon Scott's soft, thundering beats, and the shimmering, dream-like, triple-guitar work of Neil Halstead, Rachel Goswell, and Christian Savill. Halstead sings the song through his atmospheric, enchanting vocals with Goswell doing backing vocals. With a washy, droning riff popping up by Savill, Halstead and Goswell's vocals take shape through the harmonies in this dream-like opener that included an instrumental coda of acoustic guitar and cello accompaniments. Celia's Dream is another slow number led by its smooth, wobbly rhythm and chime-wash guitar tracks as Halstead sings in his ethereal, vocal style with a soft, wail in the guitars. Halstead's vocals match the song's dream-like imagery in his lyrics as it's filled with intense, moody guitar tracks and rhythms for its tone with flourishes of arpeggio chimes and drones.

Catch The Breeze is a slow but more rhythmic-driven track with its rumbling beats and bass lines as Halstead and Goswell sing through the soft, shimmering guitar tracks in the background. With its distorted drones and ethereal presentation, the song is filled with psychedelic-laden lyrics as it features layers of guitar tracks with wailing solos and washy, drone riffs. Ballad Of Sister Sue is a chime-laden track awash with guitar flourishes, a smooth bass line, and Goswell's haunting yet soothing vocals. With drums starting to emerge, Halstead joins in on vocals as they sing dark, haunting lyrics as the guitar washes and chimes continue to drive the song. Erik's Song is an instrumental track with just a shimmering guitar drone and a piano accompaniment as soft vocals are heard through the production.

Waves is a mid-tempo number with washy, arpeggio-laden guitar tracks and bouncy bass line spurred by its smooth snare fill. Halstead and Goswell both sing through their gorgeous harmonies with Halstead's imagery-laden lyrics. With the song's tempo picking up and the guitars shimmering through, it's definitely a standout cut. Brighter is another mid-tempo track with a more melodic bass accompaniment and pounding drums led by its dream-like guitar washes and Goswell's ethereal vocals. With Halstead singing the chorus, the song is filled with guitar flourishes ranging from dream-like washes to droning backgrounds.

The Sadman arrives with an arpeggio guitar riff and a washy guitar background as soft, tribal beats play in the background. Rachel Goswell starts to sing as wailing guitar drones start to pop up during the chorus that's heightend by its production. The album closer Primal is a slow, mid-tempo number with a smooth, bouncy rhythm and arpeggio guitar chimes flourishing as Halstead and Goswell sing. With the rhythm picking up and the guitars getting more intense, so does Halstead's vocals in the song's dream-like lyrics as the guitars start to shimmer with its drone for the coda.

The 2005 reissue of Just For a Day includes a second disc filled with 12 extra tracks from the band's early EPs including 3 songs from a radio session with John Peel recorded on 4/21/91. The bonus disc opens a song named after the band, not a cover of the Siouxsie & the Banshees song. The upbeat, mid-tempo song with thumping rhythms, droning guitar wails, and Neil Halstead's breathy, ethereal vocals. The song is more shoegaze in comparison to their more dreamier material as Rachel Goswell joins Halstead in the vocals during the second verse. Avalyn 1 is a slow yet dream-like cut with smooth, thundering beats, wobbly bass lines, and droning guitars that features spurts of feedback. With Goswell singing through indistinct lyrics and atmospheric vocals as the song continues to display its drone-like presentation. Avalyn 2 is a continuation of the previous song that is expanded as an instrumental track with arpeggio chimes played in the background.

Morningrise is a mid-tempo, bass-driven track led by its thumping rhythms, droning guitar noises, and Halstead's haunting vocals. With its dream-like, cosmic lyrics, Halstead leads the song as Goswell joins him on vocals on some parts that includes wailing guitar solos that shimmers through the song. She Calls arrives with its smooth, rumbling beats, droning guitar swirls, and Goswell's eerie yet ethereal vocals. Then the song becomes a more rhythmic track with Halstead singing lead with Goswell joining him as the guitars continue to drone as the song moves back and forth in its structure. Losing Today is a slow yet haunting track with rumbles in the background as the dreamy guitar washes and chimes lead the way with Halstead's vocals. With its swooning tone and shimmering guitars, the atmospheric vocals of Halstead and Goswell play through the song's production.

Next is a cover of Syd Barrett's Golden Hair as Slowdive brings a haunting version to Barrett's classic, that includes excerpts from the work of James Joyce. With Rachel Goswell singing Barrett's disturbing yet fragile lyrics, the song is filled with guitar shimmers and soft, background distortions. With its instrumental coda filled with guitar drones, loopy bass lines, and soft beats, the song is a unique interpretation of a song created by one of the co-founders of Pink Floyd. Shine arrives with its swooning guitar drones and wobbly bass lines as Rachel Goswell sings the song with indistinct lyrics filled with her amazing vocals. With washy guitar chimes leading the way and a smooth, mid-tempo beat, it's a standout cut from the bonus disc. Albatross is an ethereal, rumble of a song with droning guitar shimmers, Halstead's vocals and pounding bass drums. With Halstead singing softly, the song intensify with its drums and guitar drones as it moves back and forth in structure.

The last three tracks come from the John Peel session for the BBC on April 21, 1991 with Catch The Breeze as the first. The song features louder guitars in the coda and more atmospheric vocals from Halstead on lead and Goswell on backing vocals. Shine includes a louder snare fill and more evocative vocals from Goswell. The final track is their cover of Syd Barrett's Golden Hair that has Halstead singing lead instead of Goswell. With its droning, shimmering guitars, it's a fitting closer to the album in its deluxe edition.

Released in the fall of 1991 in the U.K. by Creation Records, the album was a hit in the U.K. music scene just as the shoegaze genre was about to reach its peak two months later with the release of My Bloody Valentine's Loveless. After getting some attention through American college radio and alternative stations, the album was released through SBK label a year later but sales in the U.S. weren't impressive. Still, Slowdive managed to gain critical acclaim despite the shoegaze genre's decline with the U.K. press focusing on the burgeoning American grunge music scene.

Despite the repetitive sound of the album, Just For a Day is still a fascinating debut release from Slowdive. Its deluxe edition is something hardcore fans must have since it contains several unreleased tracks and rarities. For enthusiasts of the shoegaze scene, it's one of the essential records of the genre. In the end, Just For a Day is a dreamy, evocative debut release from Slowdive.

Slowdive Albums: Souvlaki - Pygmalion

(C) thevoid99 2011