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m b v
Alternate shades of blue with "m b v" written in lowercase purple text.
Studio album by
My Bloody Valentine
Released2 February 2013 (2013-02-02)
Recorded
  • 1996–1997
  • 2006–2012
Genre
Length46:37
Labelm b v, Domino[3]
ProducerKevin Shields
My Bloody Valentine chronology
EP's 1988–1991
(2012) 		m b v
(2013)

m b v is the third studio album by Irish-English rock band My Bloody Valentine, self-released on 2 February 2013. Produced by the band's vocalist and guitarist Kevin Shields, m b v was the band's first full-length release of original material since Loveless (1991), over two decades earlier.

Recording for m b v began prior to My Bloody Valentine's breakup in 1997. Shields resumed recording in 2006 when the band was reunited, with further recording occurring after 2011. The album received critical acclaim and was named among the best albums of 2013 by numerous publications, including Pitchfork, Uncut, and The Wire.

Background and recording

[edit]

Following their departure from Creation Records after the release of their second studio album Loveless (1991), My Bloody Valentine signed with Island Records in October 1992 for a reported £250,000.[4] The band's advance went towards the construction of a home studio in Streatham, South London, which was completed in April 1993. Several technical problems with the studio sent the band into "semi-meltdown", according to vocalist and guitarist Kevin Shields,[5] who was rumoured to have been suffering from writer's block.[6] Between 1993 and 1996, the band recorded and released two covers: "We Have All the Time in the World" by Louis Armstrong for Peace Together,[7] and "Map Ref. 41°N 93°W" by Wire for the tribute album Whore: Tribute to Wire.[8]

Rumours spread that several albums worth of material had been recorded and shelved prior to the band's 1997 breakup. In 1999, it was reported that Shields had delivered 60 hours of material to Island Records,[4] and vocalist and guitarist Bilinda Butcher confirmed that there existed "probably enough songs to fill two albums".[6] Shields confirmed that at least one full album of "half-finished" material was abandoned: "It was worth dumping. It was dead. It hadn't got that spirit, that life in it."[9]

Recording sessions for m b v began in 1996, after bassist Debbie Googe and drummer Colm Ó Cíosóig had left the band. Shields began recording guitar riffs to tape, laying the foundations for several songs.[10] He said that when the sessions concluded in 1997 the album was "half-finished".[11] Shields recorded most of the instrumentation. In an interview with Drowned in Sound, Googe said that the drum parts had "been added then taken off at least once", with Shields' brother Jimi Shields recording beats for sampling and Ó Cíosóig recording final live tracks.[12]

In 2006, Shields resumed recording at the time when the band was reunited, combining recordings from the 1996 and 1997 sessions with additional instrumentation. Final vocal, bass and drum tracks and overdubs were recorded in 2011 and 2012. "She Found Now" was the only song recorded "completely from scratch" in 2012.[10] The album was recorded and mixed on analogue equipment, as with My Bloody Valentine's earlier albums. It was recorded on 2-inch 24-track tape and mixed on half-inch tape.[13]

Mastering was completed on 21 December 2012,[14][15] after four months of mixing and editing in late 2012.[10] The post-production process involved no digital processing, according to the band.[13] The band recorded additional material at Grouse Lodge in County Westmeath, Ireland during January 2013.[16][17]

Composition

[edit]

In an interview with The Quietus prior to m b v's release, Shields said it was "not going to sound like Loveless where it's like looking into another world ... more like Isn't Anything, where it seems to be of this world, but with one foot in another world ... the songs on Loveless had more in common with folk-blues music to me, just a verse and an instrumental passage, circular" and described the new material as "more elongated" and "raw".[18] The Beach Boys' unfinished album Smile was an influence on the composition. According to Shields, he "wanted to see what would happen if I worked in a more impressionistic way, so that it only comes together at the end."[19] He later expanded on his comments, stating that he was "purposefully not trying to write songs with a beginning, middle, and end."[10]

Shields mentioned drum and bass as an influence on one of the album's songs,[18][20] and jungle music had influenced some of the original material recorded in 1996.[21] Commenting on unreleased songs from m b v's recording sessions Shields said "there's probably about three more [songs] that will come out sometime."[10]

In 2007, describing the apparent imminent release of a new record, Shields expressed his vision that "It sounds like what we sounded like—different but not radically different" and revealed that the album was composed based on "[the] '96/'97 record half-finished record finished [sic], and then a compilation of stuff we did before that in 1993–94, and a little bit of new stuff."[11]

Release

[edit]

My Bloody Valentine confirmed m b v's release through the band's Facebook page on 2 February 2013.[22] The band's website was relaunched at 11:58 GMT on 2 February, where m b v was released on mbv Records. It was made available for purchase on the website as a download (MP3 or WAV), a CD and download package, or a 180g LP, CD and download package.[23] The website crashed within minutes of m b v's release, due to web traffic,[24] and the album was later made available for stream on YouTube.[25] Physical copies of the album were released on 22 February.[13] Asked about the sales, Shields said: "If we [had] put it out on a major label, we would've had to sell 1.5 million copies to do as well as we will have done by the end of the year."[26]

Tour

[edit]
My Bloody Valentine performing at the O2 Apollo in Manchester, United Kingdom on 10 March 2013

Prior to m b v's release, My Bloody Valentine announced live dates in South Korea,[27] Japan,[28] Taiwan and Australia[29] during February 2013. The tour began on 3 February in Seoul and concluded on 22 February in Melbourne. A three-date tour of the United Kingdom was later announced,[30] with the band performing from 8 to 12 March at Barrowlands in Glasgow, O2 Apollo in Manchester and Hammersmith Apollo in London. Due to demand, a second performance at Hammersmith Apollo on 13 March was added.[31] The band performed a warm-up show at Electric Brixton in London on 27 January 2013, performing a new song entitled "Rough Song",[32] which was later titled "New You" on m b v. The band undertook North American and Japanese dates in summer and fall of 2013.

Reception

[edit]
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?8.7/10[33]
Metacritic87/100[34]
Review scores
SourceRating
AllMusicStarStarStarStar[35]
The A.V. ClubA−[36]
The Daily TelegraphStarStarStarStar[37]
The GuardianStarStarStarStarStar[38]
The IndependentStarStarStarStar[39]
Los Angeles TimesStarStarStarHalf star[40]
NME8/10[41]
Pitchfork9.1/10[42]
Rolling StoneStarStarStarStar[43]
Spin8/10[44]

m b v received universal acclaim. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received an average score of 87, based on 46 reviews, indicating "universal acclaim".[34] AllMusic rated m b v four out of five stars.[35] Writing for The A.V. Club, Jason Heller said the album "stands as something potentially timeless—and immediately breathtaking". Heller drew comparisons between the first half of the album and Loveless, and stated that the latter half "relinquishes the familiar and swims far beyond the sight of shore", in his A− review.[36] BBC Music reviewer Ian Wade gave m b v a favourable review, describing "the lack of a dramatic shift in direction" as "comforting". He referred to the album as "a perfect follow-up to Loveless and noted it "represents an astounding return".[45] Greg Kot of the Chicago Tribune awarded the album two and a half stars out of four and described m b v as being in thirds, saying "the opening trio of songs offers a paler version of the revolutionary Loveless sound", "the album takes a turn in its middle third with 'Is This and Yes,' essentially a long palette cleanser devoid of guitars" and "the album's final three songs serve as the antidote".[46]

Ludovic Hunter-Tilney of the Financial Times rated the album four out of five stars and said that m b v's opening track "leads us to expect a Loveless 2.0; as though Shields, pushing 50, has finally accepted that he has painted himself into a corner. However, as the album unfolds it transforms itself into a remarkable act of renewal", later concluding there was "a wild, undisciplined feel to the music".[47] Writing for The Guardian, Alexis Petridis compared the album favourably to Loveless and stated that m b v was "more melodically complex, intriguing and often pleasing than anything My Bloody Valentine has written before" in his full five-star review.[38]

Both Hot Press and The Irish Times published favourable reviews of m b v—Eamon Sweeney of Hot Press said My Bloody Valentine "have delivered nine tracks and 46 minutes of beautiful madness to luxuriate and get completely lost in"[48] and Jim Carroll praised the album, referring to it as "damn good" and adding "but this is [My Bloody Valentine] and that third album comes with so many expectations that it's nigh on impossible for it to live up to what we expect."[49] Los Angeles Times' music critic Randall Roberts awarded m b v three and a half stars out of four. He described the album as opening with "a syrupy, drunken vessel of deep tremolo guitar" and ending on "a whirlwind of rhythm", adding "the record blossoms 20 minutes in, and over its length presents the sound of a group living in the here and now: rhythms of the moment, and staticky love-anthems like 'If I Am' as beautiful as anything the band has ever done."[40] Spin rated m b v eight out of ten, with reviewer Michael Robbins referring to it as a "logical next step" and "utterly contemporary" with "a few songs betray[ing] their long, frustrating gestation in a studio vacuum."[44]

The album was also included in the 2014 revision of the book 1001 Albums You Must Hear Before You Die,[50] although it was removed in later versions.

Track listing

[edit]

All tracks are written by Kevin Shields[51]

No.TitleLength
1."She Found Now"5:06
2."Only Tomorrow"6:22
3."Who Sees You"6:12
4."Is This and Yes"5:07
5."If I Am"3:54
6."New You"4:59
7."In Another Way"5:31
8."Nothing Is"3:34
9."Wonder 2"5:52
Total length:46:37

Notes

  • On some releases, every song is stylized in all lowercase letters. For example, "Who Sees You" is stylized as "who sees you". Other releases have the songs stylized with normal capitalization.

Personnel

[edit]

All credits adapted from m b v's liner notes.[51]

My Bloody Valentine

Technical personnel

  • Kevin Shields – production, mixing
  • Andy Savours – mix engineering
  • Noel Summerville – LP mastering
  • Alex Wharton – CD and digital mastering

Design personnel

  • Matthew Cooper – layout
  • Debbie Googe – layout
  • Lung – booklet images
  • Anna Meldal – booklet images
  • Nicholas Pankhurst – sleeve artwork, booklet images

Chart positions

[edit]
Chart (2013) Peak
position
Belgian Albums Chart (Flanders)[52] 87
Belgian Albums Chart (Wallonia)[53] 120
Chart (2021) Peak
position
Australian Albums (ARIA)[54] 88
Irish Albums (OCC)[55] 44
Japanese Albums (Oricon)[56] 47
Portuguese Albums (AFP)[57] 42
Scottish Albums (OCC)[58] 9
Swedish Physical Albums (Sverigetopplistan)[59] 6
UK Albums (OCC)[60] 29
UK Independent Albums (OCC)[61] 6

Accolades

[edit]
Publication Accolade Rank
Pitchfork 'Top 50 Albums of 2013'[62] 4
Pitchfork 'Top 100 Albums 2010–2014'[63] 28
Consequence of Sound 'Top 50 Albums of 2013'[64] 3
Exclaim! 'Top 20 Pop & Rock Albums of 2013'[65] 3
Cokemachineglow 'Top 30 Albums of 2013'[66] 5
No Ripcord 'Top 50 Albums of 2013'[67] 1
Uncut 'Best Albums of 2013'[68] 1
Stereogum '50 Best Albums of 2013'[69] 5
The Village Voice 'Pazz & Jop Critic's Poll'[70] 6
The Wire 'Releases of the Year 1–50'[71] 21
Metacritic '25-Best Reviewed Albums of 2013'[72] 3
Metacritic '2013 Music Critic Top-Ten Lists'[73] 13

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

M b v

View on Grokipedia
from Grokipedia
mbv is the third studio album by the Irish-English alternative rock band My Bloody Valentine, self-released on 2 February 2013 after a 22-year hiatus since their acclaimed second album Loveless (1991). The nine-track record, produced primarily by the band's frontman Kevin Shields, features the group's signature shoegaze sound characterized by dense, swirling guitar textures, dreamlike melodies, and abstract lyrics, clocking in at approximately 45 minutes. It includes tracks such as "Only Tomorrow," "Who Sees You," and "Wonder 2," blending noisy distortion with rhythmic experimentation influenced by drum 'n' bass elements. The album's production spanned nearly two decades, beginning in 1996 during sessions for what was intended as a follow-up to Loveless, but was abandoned in 1997 when the band's label withdrew funding amid financial disputes and the group's breakup. Shields resumed work in 2006 after the band's 2007 reunion, initially conceiving it as a shorter EP before expanding it into a full-length release; challenges included recovering degraded tapes and correcting pitch issues from earlier recordings. Mastering was completed in December 2012, leading to its surprise digital release via the band's website, followed by physical editions on CD and 180-gram vinyl. Upon release, mbv was widely praised for recapturing the innovative spirit of My Bloody Valentine's earlier work while introducing fresh sonic explorations, earning critical acclaim as a triumphant return for the influential pioneers. Themes of ecological anxiety and societal evolution underpin its abstract narratives, reflecting Shields' optimistic yet urgent amid global changes. The album solidified the band's legacy in , influencing subsequent generations of noise-pop and artists.

Background

Hiatus following

Following the release of their 1991 album , My Bloody Valentine faced severe financial and creative exhaustion. The album's protracted recording process incurred costs of approximately £250,000, which strained to the brink of bankruptcy and led to the label dropping the band shortly after release. This financial fallout was compounded when the band signed with in 1992 for a reported £500,000 advance, intended to fund a home studio, but the group failed to deliver new material amid ongoing creative blocks. Kevin Shields, the band's leader and primary songwriter, grappled with profound personal struggles during the and , including bouts of depression and a reclusive lifestyle that hindered his ability to complete or even start new . He described periods of intense isolation in his home, exacerbated by perfectionism and a lack of inspiration following the immense effort poured into Loveless. These challenges contributed to the band's effective dissolution, as contractual obligations with Island provided a monthly retainer until 2001 but prevented any releases and locked them in legal limbo. The period from 1997 to 2007 marked a profound for My Bloody Valentine, with no group activity or new output, though individual members engaged in sporadic side projects. Drummer , for instance, collaborated with singer on her project the Warm Inventions, contributing to the 2001 album . Shields occasionally worked as a guest producer and musician, including contributions to the Lost in Translation soundtrack in 2003 and remixing tracks for . This era of inactivity built immense anticipation among fans for any revival, heightened by the band's influential legacy from . The innovative guitar layering and sonic experimentation on that album served as a precursor to the boundary-pushing sound later explored on m b v. In 2007, My Bloody Valentine announced their reunion, culminating in a series of initial live performances in 2008— their first shows in 16 years—focusing exclusively on material from their back catalog without debuting new songs. These U.K. dates, including sold-out nights at London's Roundhouse, marked a tentative return and reignited interest in the band's future.

Project inception and preparations

In , My Bloody Valentine reunited with their original lineup of on vocals and guitar, on vocals and guitar, on drums, and on bass, initially to perform live shows following rumors that had circulated for years. Shields confirmed the reunion in a video interview, noting the group's intent to play select festivals and headline dates, marking the end of a 15-year hiatus since their last performances in 1992. This focused on recapturing the band's live energy through rigorous rehearsals, with the quartet preparing material primarily from their era to rebuild cohesion. The hiatus had been fraught with financial strains from the production of , which nearly bankrupted and left Shields disillusioned with label interference, motivating him to prioritize full creative autonomy for future work. By the late 2000s, Shields had relocated to to be closer to family, establishing a home-based setup there where he acquired , amplifiers, and effects pedals essential to the band's signature sound between 2008 and 2011. This period allowed him to experiment with gear in a low-pressure environment, sourcing rare arms and fuzz pedals to refine the dense, layered guitar textures central to their aesthetic. During these years, Shields developed early demos and song sketches in his New York home studio, drawing on unfinished ideas and rough recordings from the 1990s that had been shelved after the band's initial split. Tracks like "only tomorrow" originated from 1996 sessions, while others incorporated guitar loops and vocal fragments from the Loveless era, gradually evolving through iterative home recordings using samplers and multi-track setups. These preliminary works emphasized the band's shoegaze foundations—swirling reverb, glide guitar techniques, and buried melodies—serving as blueprints before full band involvement. The band opted for an independent self-release model to maintain control over the project's direction and timeline, establishing their own imprint, MBV Records, through which the album would be issued under a licensing deal with for manufacturing and international distribution while retaining artistic oversight. This shift enabled a surprise digital release in , bypassing traditional promotional cycles and echoing the band's history of defying industry norms.

Recording

Studio locations and timeline

The recording of m b v spanned nearly two decades, beginning in 1996 in the aftermath of Loveless and continuing sporadically amid the band's hiatus and reunion. Initial sessions took place at Kevin Shields' home studio in Streatham, South London, which he constructed following the band's 1992 signing to Island Records; the studio was operational by June 1993 and served as the primary site for core tracking through 1997, when the group disbanded. Work resumed in 2006 after the band's 2007 reunion, with Shields incorporating preparatory demos dating back to the project's early phases. Much of the album's instrumentation was captured by Shields working solo in home setups. Drummer contributed to select tracks during the initial 1990s sessions and provided drums and sampling in 2011–2012 sessions. Overdubs and vocal recordings occurred toward the end of the process, with laying down her parts in later sessions. Mixing extended into , culminating in mastering completed on December 21, 2012, at an unspecified facility. This protracted timeline—roughly 20 years from inception to completion—marked a stark contrast to the intensive three-year effort required for , reflecting Shields' perfectionist approach amid personal and logistical interruptions.

Production methods and challenges

Kevin Shields employed custom guitar setups, primarily featuring Fender Jazzmasters equipped with loose or taped arms, to generate the album's signature dense, swirling textures. These instruments were routed through an array of effects pedals, including reverse reverb, , and delay units, allowing Shields to manipulate pitch and sustain in real-time during recording. This technique, often involving strumming open chords while rocking the tremolo arm, created a gliding, ethereal quality that permeated tracks like "she found now" and "in another way," evoking a sense of fluid motion and harmonic ambiguity. The production relied heavily on extensive multi-tracking, with up to 20-30 guitar layers per song to build immersive sonic walls. Bilinda Butcher's vocals were integrated as instrumental elements, heavily processed with effects and layered into the mix to blend seamlessly with the guitars, functioning more as textural washes than foregrounded . This approach amplified the album's dreamlike, impressionistic atmosphere, where individual elements dissolved into a cohesive . Most tracks eschewed traditional live drums, opting instead for electronic beats and sampled rhythms derived from drum 'n' bass influences slowed to a glacial pace. These were manipulated via samplers and sequencers to provide subtle propulsion, as heard in the looping percussion of "nothing is" and "wonder 2," avoiding conventional backbeats in favor of hypnotic, fragmented grooves. Production faced significant challenges, including technical difficulties with vintage analog gear such as tape degradation and pitch instability, which necessitated painstaking adjustments like spending days retuning bass to match guitar tracks warped by tape rot. Shields' perfectionism exacerbated delays, leading to repeated remixing over nearly two decades, with sessions restarting multiple times to refine the sound. These methods contributed to timeline extensions beyond initial plans. Additionally, the project was entirely self-funded by Shields after label support ended in the , imposing strict budget constraints that forced reliance on home studios and limited resources.

Composition

Musical elements and style

mbv continues My Bloody Valentine's signature sound, characterized by dense layers of distorted guitars that create ethereal walls of sound, while incorporating influences through woozy, tremolo-heavy textures derived from guitars and effects pedals. The album evolves from the band's prior work on Loveless by introducing heavier edges, resulting in a darker, more insular atmosphere with minimal treble emphasis and a focus on heavy bass and mid-range details that contribute to its airless density. Production layering enhances this sonic thickness, pushing the boundaries of guitar textural exploration beyond traditional melodic structures. Rhythms on mbv often feature glitchy, fragmented patterns, particularly in the album's final third, where unconventional percussion draws from 1990s jungle and drum'n'bass influences, creating locked-groove propulsion that contrasts with the distant, muddy drum textures serving more as atmospheric elements than strict timekeepers. Compared to Loveless, melodic hooks are more minimal and abstract, favoring experimental forms over pop accessibility, with tracks averaging 5-6 minutes in length to allow for ambient-leaning developments. For instance, "Only Tomorrow" showcases soaring, polychromatic guitar squalls that build dreamy, reverb-drenched waves, evoking a sense of expansive introspection through its raw yet symphonic guitar interplay. In tracks like "In Another Way," dissonant harmonies emerge via silvery Krautrock-inspired synths and warped guitar distortions, tilting toward a faster, more collapsing rhythmic drive that highlights the album's departure into noisier, abstract territories. Other pieces, such as "Nothing Is," employ pounding bass drums and militaristic guitar riffs for a grim, heavy edge, while "Wonder 2" descends into a noise-filled freak-out with effects, underscoring the album's emphasis on feeling and sonic experimentation over conventional forms. Overall, mbv refines shoegaze's foundations into a more eclectic, pensive style that prioritizes textural innovation.

Lyrics and thematic content

The lyrics on m b v are predominantly abstract and impressionistic, primarily penned by , and frequently buried deep within the album's dense, swirling mixes, rendering them difficult to decipher and prioritizing emotional atmosphere over clear narrative. This sparse wording aligns with the band's longstanding approach, where many tracks border on the , emphasizing mood and sensation rather than explicit storytelling. Central themes revolve around love depicted as an introspective and destabilizing force—intense yet paralyzing, evoking a "deeply destabilizing queasiness" akin to overwhelming emotional rushes—interwoven with isolation, loss of self, and fleeting human connections. Shields has described these motifs as emerging from an "inside out" perspective, shaped by influences like , fostering a sense of disembodiment and pensive gloom rather than overt carnal desire. For instance, in "Who Sees You," the impressionistic lines explore vulnerability amid isolation, underscored by Bilinda Butcher's ethereal warbling vocals that convey a raw, exposed yearning. Similarly, "Is This and Yes" embodies thematic ambiguity through its unresolved structure and Butcher's layered delivery, suggesting ephemeral bonds amid uncertainty, while "Only Tomorrow" highlights introspective longing via her spine-tingling refrains paired with Shields' near-whispered contributions. Butcher's androgynous, non-specific vocals across these tracks enhance the album's sensuality and emotional detachment, blending seamlessly with the sonic haze to evoke without resolution.

Release

Announcement and pre-release buzz

The anticipation for a new My Bloody Valentine album had built over more than two decades since in 1991, with frontman frequently discussing ongoing work in interviews, including a 2012 conversation where he revealed the band had nearly completed material from the 1990s alongside fresh recordings. In late December 2012, the band's official page confirmed that mastering had been finalized, signaling an imminent 2013 release and intensifying fan expectations after years of false starts. This buzz escalated during the band's January 27, 2013, warm-up concert at London's Electric Brixton, where they debuted snippets of new tracks like "Rough Song" and Shields directly addressed a fan query about the album by stating it "might be out in two or three days." These live previews, combined with earlier teases from 2012 interviews and reissue announcements, sparked widespread online speculation and discussions among fans eager for the pioneers' return. On February 2, 2013, Shields surprised the music world with a Facebook post announcing the immediate availability of m b v, the band's self-released third album, bypassing traditional label promotion entirely. The digital download was offered exclusively through the band's website for £6 (or equivalent in other currencies), with full tracks also uploaded to their YouTube channel, though the surge in traffic caused the site to crash repeatedly. This unorthodox, event-like rollout—framed as a direct gift to fans after the long wait—quickly trended worldwide under #MBV on Twitter. Major outlets amplified the excitement: documented the chaotic launch and live debuts in real time, while described it as a "Christmas miracle" sprung 22 years late, highlighting the album's sudden emergence as a cultural moment for enthusiasts. The surprise element, rooted in the hiatus's mythic status, transformed m b v's debut into an instant phenomenon, with fans and critics alike celebrating the evasion of conventional hype cycles.

Distribution and formats

m b v was initially self-released as a digital on February 2, 2013, available for purchase on the band's official website for $9 USD, providing fans with immediate access in the wake of the surprise announcement. The digital was offered in 320 kbps , 16-bit , and 24-bit formats. Physical editions, including and LP formats, followed on February 22, 2013, marking the album's wider availability through independent channels. The album was distributed via the band's own imprint, MBV Records, in a deliberate DIY effort that avoided major label involvement and highlighted the group's independent ethos. Available formats encompassed the standard digital version and a vinyl pressing housed in a sleeve with five accompanying art prints. Later partnerships with Domino Recording Co. expanded distribution to international markets, including reissues and streaming availability beginning in 2021. This approach yielded strong initial interest.

Promotion and touring

Marketing strategies

The marketing strategies for m b v eschewed conventional advertising campaigns, opting instead for a low-key approach that emphasized surprise and organic buzz. My Bloody Valentine announced the album's immediate digital availability on , , via a post directing fans to their , which quickly led to worldwide trending under #MBV and overwhelmed the site's servers due to unprecedented demand. This unorthodox tactic, bypassing traditional media rollouts, relied heavily on amplification and word-of-mouth among the band's dedicated fanbase to drive initial awareness and downloads. Following the release, frontman participated in selective interviews with outlets like and , where he elaborated on the album's protracted creative process and recording challenges, maintaining a measured level of exposure that avoided oversaturation. These discussions focused on artistic intent rather than promotional pitches, reinforcing the band's enigmatic image and allowing the music to speak for itself. To sustain momentum, the band integrated m b v into their 2013 festival schedule, performing tracks from the album at events like in and Optimus Primavera Sound in , providing live debuts that heightened excitement without dedicated promo tie-ins. Merchandising efforts remained restrained, limited to basic items such as T-shirts and posters sold exclusively through the band's official online store, which aligned with their aversion to aggressive commercialization and preserved the album's appeal. The surprise digital format itself served as a key , enabling instant global access and fueling viral sharing that extended the release's reach organically.

Live performances and tour history

Following the surprise release of m b v in February 2013, My Bloody Valentine embarked on a world tour that began in with performances in and . The band played sold-out shows in on February 5 and later that month, followed by a concert in on February 3, marking the live debut of several tracks from the new album, including "New You" and "Only Tomorrow," alongside staples from Loveless. The tour continued into in March, with dates at venues such as Glasgow's on March 9, Manchester's Apollo on March 10, and London's on March 12, before expanding to additional European festivals in the summer. In the fall, the band shifted to , starting in early November with a show in St. Paul, Minnesota, followed by dates in , , , , , and New York, among others. Setlists throughout emphasized m b v material mixed with Loveless tracks, with full album representations debuting at festivals like in on May 25—where "New You," "Only Tomorrow," and "Who Sees You" featured prominently—and in on August 25. These promotional festival appearances served as key kickoffs for the North American leg. The tour concluded in late 2013 without extending into 2014. Early in the 2013 tour, the band faced challenges with their complex technical setup for live guitar effects, including custom pedals and amplification rigs designed to replicate the album's dense, layered sound. This led to occasional sound issues, such as feedback overloads, awkward pauses, and restarts during shows in and initial European dates, though the production stabilized as the tour progressed. My Bloody Valentine revived m b v tracks during their 2018 tour, their first run of shows since 2013, which included European festival appearances in June—such as at Robert Smith's Meltdown in London on June 23—and a North American leg in July, with dates in Seattle, Oakland, Los Angeles, Chicago, Philadelphia, and New York. Performances featured refined renditions of songs like "New You," "Only Tomorrow," and "Who Sees You" integrated into sets dominated by Loveless material, with no new songs introduced beyond the 2013 album. The tour concluded at Desert Daze festival in California on October 14. No further tours occurred until announcements for 2025 dates. In 2024, the band announced their first tour dates since 2018, including shows in the UK and Ireland in November 2025—3Arena in Dublin on November 22, Aviva Studios in Manchester on November 24, OVO Arena Wembley in London on November 25, and OVO Hydro in Glasgow on November 27—followed by performances in Japan in February 2026.

Reception

Critical reviews

Upon its surprise release in February 2013, m b v received widespread critical acclaim for its continuation of My Bloody Valentine's signature sound while pushing into new experimental territories. awarded the album 9.1 out of 10, praising its "stunning" evolution from Loveless through denser, more textural guitar explorations that maintained the band's human emotional core amid an insular, lightless atmosphere. gave it 5 out of 5 stars, highlighting the album's melodic complexity and innovative elements, such as the distorted in "Wonder 2" that created a disorienting yet exciting sonic shift, though noting some tracks retained a "disconcerting, sickly quality." Critics commonly lauded the atmospheric depth and ' masterful guitar work, which layered processed sounds to evoke a haunting, immersive experience, as seen in tracks like "New You" and "In Another Way" that blended familiarity with subtle . However, some reviews pointed to criticisms of the album's lack of and repetitive structures, with its relentless sometimes feeling oppressive or less immediately engaging than prior efforts, reflecting Shields' prolonged, introspective creative process. The album holds an aggregate Metacritic score of 87 out of 100 based on 46 reviews, signifying universal acclaim and solid recognition as a triumphant return after 22 years. In the 2020s, retrospective assessments have further solidified m b v's status as a worthy successor to Loveless, particularly amid a shoegaze revival, with writers appreciating its haunting innovations and role in reclaiming the genre's crown from imitators, even if it took time for its divided structure—echoing past densities, softer interludes, and futuristic edges—to fully resonate.

Commercial performance

m b v debuted at No. 17 on the US chart, No. 29 on the , and topped the US chart. The release model via drove strong digital sales, while vinyl reissues in 2016 provided a later boost to physical sales. In comparison to , which has sold over 290,000 copies in the US, m b v achieved more niche commercial success but has endured through the band's dedicated . Critical acclaim helped extend the album's chart presence.

Content details

Track listing

The standard edition of m b v features nine tracks with a total runtime of 46:36. All tracks were written by . No official singles or B-sides were released from the album.
No.TitleDuration
1."she found now"5:06
2."only tomorrow"6:21
3."who sees you"6:12
4."is this and yes"5:06
5."if i am"3:54
6."new you"4:58
7."in another way"5:30
8."nothing is"3:34
9."wonder 2"5:51
The album was released in various formats, including digital download, CD, and vinyl, with no additional tracks on any edition. The Japanese CD edition includes an obi strip but otherwise matches the standard content.

Personnel

m b v features the reunited core lineup of My Bloody Valentine, marking the first full-band recording since their 1991 album , with all members contributing to the performances following the band's 2007 reformation. handled vocals, guitars, bass guitar, sampler, keyboards, and programming, in addition to serving as the sole producer, engineer, and mixer for the project. provided vocals and guitar, while bassist and drummer rounded out the instrumental contributions, with Ó Cíosóig also assisting on mixing duties. No guest musicians appear on the album, underscoring the band's insular, self-contained approach to creation after years of intermittent work spanning from the late to 2012. Technical support was limited, with mix engineering credited to Andy Savours, who acted as a key assistant during the final stages. Mastering was divided by format: Noel Summerville handled the vinyl edition at , while Alex Wharton mastered the CD and digital versions at the same facility. Artwork and packaging involved additional collaborators, including Nicholas Pankhurst for and primary images, with booklet photography by Anna Meldal and . Layout was a collaborative effort by , , and Matthew Cooper.

Accolades and legacy

Awards and recognitions

Upon its release, m b v did not receive nominations for major awards such as the Grammys. The album was ineligible for the 2013 Mercury Prize due to its self-released status via the band's own MBV label, a policy that led frontman to publicly accuse the prize organizers of effectively "banning" independent releases, arguing that such was "virtually illegal" in the eyes of the award. Despite the absence of formal award nominations, m b v earned significant recognition through high placements in prominent year-end critics' polls. It topped Uncut magazine's of the 50 best albums of , praised for recapturing the band's signature sonic innovation after a 22-year hiatus. ranked it No. 4 on their Top 50 Albums of , awarding it Best New Music status and lauding Shields' production for its immersive, guitar-driven textures. The album also appeared in numerous other rankings, including No. 1 on No Ripcord's Top 50 Albums and No. 5 on Stereogum's 50 Best Albums of , highlighting its critical impact as a milestone. Kevin Shields' production work on m b v drew individual acclaim, with reviewers noting his mastery of layered and analogue techniques as a continuation of the experimental ethos that defined the band's earlier output.

Influence and retrospective views

The release of m b v in 2013 played a pivotal role in revitalizing the genre, coinciding with a broader revival that included reunions and new material from key acts like , whose 2017 self-titled comeback album arrived in its wake. The album's experimental fusion of dense guitar walls, hip-hop rhythms, and grunge-inflected melodies reinforced My Bloody Valentine's foundational influence, prompting a reappraisal of 's nuances amid indie rock's embrace of atmospheric and textural innovation. Its impact extended to later artists, with citing m b v as the best album of the previous 25 years for its boundary-pushing sound that blended shoegaze's haze with forward-thinking electronic textures. In the 2020s, retrospective analyses have praised the record for presaging elements of glitch-pop and ambient , particularly in tracks like "Is This and Yes" and "New You," where droning, circular structures and intangible sonic layers prefigure those subgenres' rise. The album's legacy is tied to its protracted creation, begun in 1996 as a potential EP or side project but revisited in 2006 and completed by 2011 after a 22-year gap since Loveless, a wait that amplified its mythical aura among fans and critics. In a 2023 interview, Kevin Shields described realizing upon revisiting the material that it formed "a really good album" with intense, present themes distinct from a direct Loveless sequel, marking it as a pivotal, self-contained evolution in the band's oeuvre. Despite this, m b v's under-discussed contributions to —through its esoteric ambitions and genre-blending—highlight gaps in broader coverage of its ripple effects. In November 2024, the band announced their first headline tour since 2018, comprising dates in the UK and in November 2025 (Dublin on November 22, on November 24, on November 25, and on November 27), along with a February 2026 show in , signaling sustained activity that could lead to future reissues building on the 2021 vinyl and streaming expansions.

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