Rachel Goswell and Neil Halstead talk 30 years of Souvlaki and everything is alive, their first new album since 2017.
, came out in February 1995, Slowdive had already been marching towards their own funeral. The album had been finished and delivered to Creation Records a year prior and, in the time between, the band had long run out of funds to survive as a unit.
When Slowdive came to be in 1989, they were just five kids from Reading who were stoked on Dinosaur Jr., Sonic Youth and Cocteau Twins—finding a haven in My Bloody Valentine’s debut albumand forming a close, symbiotic companionship with fellow hometown outfit Chapterhouse. Alternative bands who went heavy on distortion pedals became enigmatic and tethered to one shapeless, mystical force that music magazines pulled from thin air.
The first time Slowdive came over to America, it was for a package-deal tour with Blur in 1991 because, as Halstead puts it, they were both “weird-sounding bands from the UK” on the same American label, SBK—which was an odd creative choice, given that Slowdive and Blur have never once sounded similar to each other. “It didn’t really work as a double bill,” he says, laughing. “I’ve got lots of great, somewhat-blurry photographs from that tour,” Goswell chimes in.
Critics were much more interested in—and fascinated by—the relentless hypnosis of Britpop. Why rehash old news with Slowdive when Oasis and Blur were churning out tracks that became magnets for the glow of contemporary success? John Harris ofa “career suicide.” Perhaps he was right then, but time passed has favored the Reading shoegaze practitioners greatly in the 28 years since. It’s hard to trust any critic who stakes a claim on what piece of art derails a career and what doesn’t.
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