Pitchfork interviewed Kevin Shields and they discussed the soon to be released all-analog Loveless vinyl release, his hearing changes through the years, and the new My Bloody Valentine album they are working on (to be released in 2018).
Regarding the decision to press a single disc instead of a double LP:
I wanted it to actually be played the way it was originally conceived, which is basically an A and B side: Loveless is like a mirror image of itself on each side. It works as a continuous thing. That’s where I got a little nuts, but it was one of the things that I got right [initially]. The obvious thing to do in this day and age would be to cut it onto two vinyls. That’s something I will do someday, just for the pure sound quality. But from the perspective of listening to it, I didn’t want that to be the only version that people had access to, because it just breaks it up. There are compromises.
You can read the whole interview here.
There is a new Rolling Stone interview posted 11/15/2017 that is worth a read.
began exploring sounds influenced more by the Smiths, the Cure and the guitar of the Byrds. To Shields’ ears, his playing on My Bloody Valentine’s earliest records represented a “perversion of a guitar sound,” meaning “it’s extremely clean, extremely small and just noise – in a way not trying to be impressive.”
“Shields’ big inspirations around this time were American bands: Dinosaur Jr., some Sonic Youth and, “particularly for me,” Public Enemy. “The sound on the first two Public Enemy records were very mid-rangey,” he says. “They weren’t hi-fi hip-hop records. It wasn’t music that was designed for an arena, and I loved up-frontness of that sound and the lack of attempting to pacify the listener with prettiness.”