Entertainment Weekly - 7/9/93, p.50
"...They nearly bury their somber melodies beneath surface noise. But unearthing the tunes is part of the listening pleasure..." - Rating: A-
Q - 7/01, p.88
Included in Q's "50 Heaviest Albums of All Time" - "...Staggeringly dense....Unveiling the softest extremely loud music ever....Even the barely intelligible lyrics contained hidden traumas..."
Alternative Press - 7/95, p.88Ranked #46
in AP's list of the 'Top 99 Of '85-'95' - "...ISN'T ANYTHING is the most important rock album of the '80s, barely nudging out PSYCHOCANDY....Guitarists Kevin Shields and Bilinda Butcher introduced a new aesthetic, creating unbearably sensual, alien environments through furious tremolo-bar wrenching and outrageous distortion..."
Q (Magazine) - p.1484 stars out of 5
-- "[T]his is a record that heads straight for the inner ear, skewing, disorientating, toppling off balance. There are wonderful songs lurking here..."
Mojo (Publisher) - p.1184 stars out of 5
-- "Today, it's still striking for its consistently dark, erotic tone, alternately woozy or aggressively ravenous..."
Uncut (magazine) - p.91
"'Lose My Breath' and 'No More Sorry' are smoldering beauties, highlighting Butcher's extinguished-torch vocals..."
Personnel: Kevin Shields, Bilinda Butcher (vocals, guitar); Deb Googe (bass); Colm O'Ciosoig (drums).
Engineers: D. Anderson, S. Nunn, A. Russell.
From its very first moments, My Bloody Valentine's ISN'T ANYTHING announces a musical revolution--the rough, insistent snare hits are joined by scalar bass runs, finally uniting and pausing to give way to a barely recognizable guitar swirl and up-close, unproduced vocals as a new form is born. The album's inimitable sonic collages sought to marry the brash experimentation and punk ethic of Sonic Youth with more pop-oriented production values and songcraft. Mastermind Kevin Shields's somewhat more streamlined European update on the noise-rock ethic may carry an intimidating sonic swagger, but beneath there beats the heart of a musical unit firmly grounded in pop.
The open-ended sonic stir and dreamy vocal of "Lose My Breath" create a swirling atmosphere, held aloft by a single, plodding acoustic guitar. This kaleidoscopic intensity reaches its apex in the stirring drama of "No More Sorry," a tightly-wound tune that pitches like a ship in a storm, battered by waves of harsh, unforgiving guitar textures. The brash, pounding punk ideal is embraced most obviously on "(When You Awake) You're Still In A Dream" and "Feed Me With Your Kiss."