Slowdive - Slowdive (Album Review)

 

Slowdive - Slowdive 

(2017)


My copy: 2017 press by Dead Oceans.


Whether it be the result of pop culture growing more interested in dreamy melodies or merely coincidental whims, the modern shoegaze revival has lured a number of notable 90s acts out of hibernation. Slowdive and Ride both reappeared in 2017, though dazed and half-awake with the fangs of their youth filed down into a more marketable smile. That’s not to say that there is nothing of value in these projects, and Slowdive itself manages to be deeply impressive in its early moments - it unfortunately stumbles from there, but proves that the band does still have an ear for enrapturing production. 

The echoing fields of synth and guitar that spiral all across “Slomo” lift the listener into a gentle high, like the brief moments of euphoria that coincide with the onset of dizziness. The production of the drums and bass are warm and engrossing, with overlying soundscapes that befit the gentle yet careening motion of a spinning carnival ride; it is unfortunate then that this is the height of the record. “Star Roving” is a simple dream-rock single, more in line with one of Neil Halstead’s side projects (Black Hearted Brother, Monster Movie). The growling distortion of their early works have been filed down into rhythmically pulsating flangers and buzzing synths - not that this isn’t effectual in its own right, but it is a sound that is stretched thin here.

“Don’t Know Why” is a refreshing change of pace with double time drums that inject an ever-so-slight dosage of post-punk fanaticism into an otherwise sweet collection of guitar arpeggios. While Halstead’s vocals feel mostly checked out or plainly inoffensive, Rachel Goswell’s return is worth hailing. If “Star Roving” was single bait, then “Sugar For The Pill” is like tossing the whole bucket of worms into the pond; the stripped back attempt at intimacy only succeeds at feeling like a desperate grasp at reconstructing the popularity of 4AD’s sound in the 80s. The core melodies of “Sugar For The Pill” are catchy though uninspired, but the performances are underwhelming. 

Then comes “Everyone Knows” and “No Longer Making Time” which feel like rehashes of earlier ideas on the very same album, though at least the former is bolstered by Goswell’s beautiful falsettos. “Go Get It” is well written for dipping into goth moodiness via distorted bass and bombastic guitar syncopation, but the cock-rock vocal choruses sour what could have been a haunting and brooding instrumental. The repeating piano and subtly layered composition of “Falling Ashes” is nice enough to stand on its own, but is ruined again by Halstead’s slurred and confused babbling. A number of tracks on this album would be much better if they were either instrumental entirely or fronted by Goswell. 

While initially fantastic, Slowdive feels especially frontloaded. It’s perfectly reasonable for a revival act to have matured and moved away from some of their harsher sounds, but Slowdive just falls into a bog of repeated ambiances one too many times - this coupled with Neil Halstead’s odd and deflated vocal deliveries causes this record to feel like a half-baked return. If you pluck three or four tracks out of this, it would make for an excellent EP.

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