Souvlaki - Slowdive - Album Review
- Juan Hernandez
- Sep 3, 2017
- 3 min read
Slowdive's 1993 sophomore effort cements the bands status as one the major influences within the shoegaze scene. Alongside with the works of My Bloody Valentine and Ride, Souvlaki, remains one of the most influential shoegaze albums of all time.
Before the mid 1990s came around, shoegaze was already a well heard of genre within the underground music scene. Seminal albums within the genre were already being dropped, such as Pyschocandy, Nowhere, and Loveless, all of these having their impact within the culture. Psychocandy was brutally noisy in the sense that it left no room for one to breath, Loveless had a heavy use of effects all while sounding accessible to newcomers, and Nowhere had use of effects while retaining a sound of alternative rock. Souvlaki, however remains one of the most heavenly sounding records within the genre. The record not only gives out a psychedelic vibe, but it also gives a blissful feel, almost glittery in a way.
20 years have passed since Souvlaki has been released, but it does not feel dated whatsoever. The album does boast a large array of effects to give off its' lethargic feel, but never does it feel old nor withered. Tracks such as "Altogether", "Souvlaki Space Station", and Melon Yellow" feel daring and spacious. What makes Souvlaki different from other albums is that it gives off an eery yet isolated sound with its' production, and the vocals from Nick Chaplin and Rachel Goswell feel as if they have been handled without care nor emotion, but it's not to say that the vocal work is bad. The point of the album is to be lost within its structure and composition and not its' vocal chops. The production and vocals compliment each other, and it never feels as one out does the other.
Personally when I listen to this record, I feel as though I'm waking up one beautiful morning while the sun is out and shining, and all of this is without feeling one bit annoyed. Tracks such as "When The Sun Hits" and "Here She Comes" feel euphoric and reminiscent of better times. Most of the tracks feel slow and nostalgic, however the same cannot be said for "Machine Gun". The track feels unbalanced with its' screeching electronic sound in the beginning, and Rachel Goswell vocals do not bring anything new to the table in terms of consistency.
The only track that does stand out in terms of sound and tempo is "40 Days". The track has such a monstrous beginning that it stands out when compared to the other tracks on the album. The same goes for "Souvlaki Space Station" both these track feel different and give substance to what otherwise be a fully laid back record. The album slows down toward it's last three tracks. "Altogether" and "Melon Yellow" remain one of the most lonely songs on the entire record. Both tracks have beautifully haunting echoes from lead vocalists that go along with its space filled atmosphere. The most stripped back track on the entire record comes right around the end with "Dagger", closing the album with a sense of dread and shallowness.
Souvlaki does not lack in creativity and beauty whatsoever. If listeners were turned off by the more complex sound of Just For A Day, they should be glad to hear that Souvlaki is much more accessible in terms of sound and pace. With it's mesmerizing walls of sound and blissful production, Souvlaki has it's own lane when being compared to other monumental albums within the genre.
Souvlaki
Released: 1993
Favorite Tracks: Alison, 40 Days, Here She Comes, Souvlaki Space Station, When The Sun Hits, Altogether, Melon Yellow
Worst Track: Machine Gun
9/10
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