After 20 plus years, shoegaze legends Slowdive return to the scene with an eight-song, self-titled LP running at about an hour in length. This follows a long hiatus after a string of poorly received albums. WKNC’s appreciation for the shoegaze genre shines, as Slowdive is one shoegaze band frequently played on the station. The station also plans on playing the self-titled LP in the future, satisfying avid shoegaze fans. Though perhaps some of the criticism was warranted, this period of backlash toward Slowdive came at the hands of reviewers disillusioned with the shoegaze genre as a whole, and resulted in a number of bands leaving the scene to form new groups in different genres.
It would seem now that enough time has passed for critics to re-examine their feelings on the shoegaze genre, and as a result Slowdive has reformed and dropped an album that perfectly summarizes exactly what the genre should be. It’s an album that encapsulates the band’s sound and denounces former albums that strayed away from what Slowdive is at its core for the sake of commercial appeal.
It is important to note that the production quality on this album is absolutely astounding. Whereas bands like My Bloody Valentine still use overwhelming, abrasive guitars that are produced and mastered in such a way that makes every song sound like the equivalent of an audible blur, Slowdive has produced this album in such a way that nearly every instrument and sound is both crystal clear and perfectly distinct. There’s all the power of the raw, distorted guitar in the background, but it manages to keep from overpowering the dreamy, drawn out vocals, synth and lead guitar that carries the melody of the tracks.
The resulting sound is of course only described as ethereal, floating into the listener’s ears with little effort and carrying them away to a place of harmonious contradictions; a land where there’s never too much echo or delay, and where abrasive guitars can simultaneously coexist and complement dream-pop aesthetics. It’s a work of pure craftsmanship, and exactly what a shoegaze album should aspire to be.
Furthermore, it’s an album that manages to keep the listener’s attention. In a genre where a lot of the songs end up sounding the same to some extent, this is an album where every track stands on its own. They’re catchy, rhythmically and melodically complex, and they all sound different in their own way without being inconsistent. Of particular note in this regard are the vocals and synth work, which practically complete each song. The voices on “Slowdive” sound so perfect and fit so well that it seems no one else could possibly sing these songs; these voices are intertwined lyrically and sonically, fused perfectly with each track. Throw in the otherworldly synth that brings out the harmonies of the guitar and suddenly you’ve got a track that feels almost alive, a creature in its own right unlike anything else.
To put it simply, “Slowdive” is a beautiful album. It’s a return to form, and one that couldn’t possibly be more fitting for these champions of their own genre. “Slowdive” marks the return of shoegaze, a once prodigal child among genres that will return stronger than ever. If Slowdive does indeed intend on a comeback, this new album lets the group through the starting gate in full sprint.
“Slowdive” is, as you would expect, recommended for fans of classic Slowdive. It should also appeal to fans of general shoegaze, of course, and dream-pop. Similar bands include My Bloody Valentine, The Jesus and Mary Chain, Mogwai, and Mazzy Star. Fans of bands like Sonic Youth and Radiohead may also find some appeal in the artsy, ethereal nature of these shoegaze veterans. Either way, “Slowdive” is an album worth listening to.
