My Bloody Valentine - Early Years

For those that may have missed the BBC Sessions...

My Bloody Valentine - The Early Years

This Dublin-born band didn't take long to establish itself as the cornerstone of a loose, largely media-built coalition of bands playing aggressive (and aggressively opaque) pop music that stood in direct opposition to both rockism and the twee bedsit romanticism of the pallid anti- rockists. But while most of the embryonic shoegazers maintained a tacit connection with pop tradition, My Bloody Valentine gradually transformed its lexicon via radical addition-by-subtraction: by the dawn of the '90s, the band had reinvented itself as a herald of sound as sacrament.

...more at Trouser Press

I've seen this band once, It was not a pleasant experience.

There is a live soundboard (?) show available recoded at The Commodore Ballroom in 

Vancouver, CA. but the wall of noise/distortion wipes out any sign of vocals. It may as well be

a instrumental live recording of melodic chainsaws.

You can crush your eardrums hear.

This is Your Bloody Valentine  (EP-1985)

1.Forever and Again

2Homelovin' Guy

3.Don't Cramp My Style

4.Tiger in My Tank

5.The Love Gang

6.Inferno

7.The Last Supper

Geek! (EP-1985)

1.No Place to Go

2.Moonlight

3.Love Machine

4.The Sandman Never Sleeps

Man You Love to Hate – Live Berlin (1985)
1.Scavengers
2. Devil Made Me Do It
3. The Love Gang
4. "Inferno
5. The Man You Love to Hate
6. Homelovin' Guy
7. A Town Called Bastard
8. Tiger in My Tank

{*Out of Print*}

My Bloody Valentine - Peel Session 1988

My Bloody Valentine - Peel Session 1988

When My Bloody Valentine walked on the stage of feedback-pop, something truly magic was finally created in the realm of psychedelia. The mini-album Ecstasy (1987) explored the ambiguity that would make their mature sound so haunting and devastating: ecstasy and terror were two faces of the same moon, and that moon shone day and night. Daydreaming and nightmare became the same state of mind as guitars enveloped naive melodies and drums smashed vocal harmonies. Isn't Anything (1988) went one step further than Jesus And Mary Chain, in that it renounced punk's violence and harked back to the most dilated forms of acid-rock. Kevin Shields' "shoegazing" guitar fullfilled Jerry Garcia's and Jimi Hendrix' galactic bliss, and helped the sweet litanies grind their way into a transcendental trance. Electronic keyboards joined guitar noise on Loveless (1991), the ultimate exploration of textures in rock music. Its stunning chaos can be viewed both as an enraptured "om" to the universe or as a deranged scream in a madman's cell or as a terrified paralysis in the face of a supernatural force. The album changed the meaning of the word "music" by proving the equivalence between "noisy" and 'symphonic", the same way that Einstein proved the equivalence between inertial and gravitational mass.