On the Greatness of My Bloody Valentine’s ‘Loveless’

“Loveless is part of a generation of rock albums that court greatness by shrugging off the notion of greatness as a useful concept: Pavement’s Slanted and Enchanted, Wilco’sYankee Hotel Foxtrot, Weezer’s Pinkerton, Neutral Milk Hotel’s In the Aeroplane Over the Sea, Guided by Voices’ Bee Thousand, and Animal Collective’s Merriweather Post Pavilion are also in this company. These records are touchstones of a different kind: They’re important in rock culture, and hardly at all in the culture at large. The thorny, heavenward-seeking tendrils of Loveless still spread so far and so wide that they can almost fill the vast expanse between the two.” — Steven Hyden, not just discussing the weird state of rock music’s legacy in the last 20 years, but also why I have a hard time relating to most people, i.e. non-music nerds.

If that quote makes any sense to you we’re probably meant to be compatriots. If not, then maybe we can talk about sports or porn?

And if you do care, yes, MBV‘s Loveless, along with the other group of albums mentioned are at the top of the discussion for best rock album in the last 20 years along with Nirvana’s Nevermind, Pearl Jam’s Ten, U2’s Achtung Baby, Metallica’s Black Album, and Radiohead’s OK Computer.

However, those last five are all important because they straddled the line between critical adulation and massive record sales and are really the last five records to do so. They are consensusly great and to debate their greatness is sort of boring.

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