- Valerian (her voice honeyed)
- Aquan 1
- Mandragora Louvareen
- Xarella Almandyne
- Blooded and Blossom-blown
- Hum Vibralux
- Virgin Blue-eyed
- Flowered Mother
- Silver (fairy threaded
- Luma (web-like and Crescent)
- Bones of Angels: a. Bronze Lit Feathers; b. Her Tongue Pulled Out
- Ghosts That Swirl
- Mother of Pearl
INK19: “Xuvetyn is glorious from start to finish, very much in a loveless-era My Bloody Valentine-gone-ethereal vein. Genius. This is some of the most amazing music ever to come off four tracks. Loveliescrushing’s music is soaked in shimmering, fuzzy, noisy brilliance. Beautiful female vocals waft through the hazy, swirling fog of layered feedback-drenched, processed guitars. This is ethereal lo-fi at its finest”
Veils of gorgeous guitar wash and angelic gossamery voice. Beautiful and grandiose orchestral subtlety and childlike naiveté, billowy, fur-lined, milky softness to a blasting metallic roar. 75 minutes of spacey drumless iridescent textures and atmospheric soundscapes. Guitar and voices sculpted, manipulated and processed into beautiful noise. Another gem of lo-fi brilliance from Lovesliescrushing.
VEILS OF GORGEOUS GUITAR WASH AND ANGELIC GOSSAMERY VOICE. BEAUTIFUL AND GRANDIOSE ORCHESTRAL SUBTLETY AND CHILDLIKE NAIVETE, BILLOWY, FUR-LINED, MILKY SOFTNESS TO A BLASTING METALLIC ROAR. 75 MINUTES OF SPACEY DRUMLESS IRIDESCENT TEXTURES AND ATMOSPHERIC SOUNDSCAPES. MELISSA’S VOCALS ARE GLASSY SHIMMERING AND EVANESCENT LIKE SNOWFLAKES MELTING IN YOUR HAND. SCOTT’S INFAMOUS GUITAR DAMAGE CONJURES IMAGES OF AN AURORA’S PHANTASMAGORIC MAJESTY OR A JET ENGINE’S INTENSITY. GUITAR AND VOICES SCULPTED, MANIPULATED AND PROCESSED INTO BEAUTIFUL NOISE. ANOTHER GEM OF LO-FI BRILLIANCE GLEANED FROM A 4-TRACK.
A review from Big Takeover #39:
Ignore the Cocteauesque titles like “Blooded & Blossom Blown” and “Luma (Weblike and Crescent).” Lovesliescrushing are about one thing: texture. Where most so-called ‘ethereal’ bands are content to put a little reverb on their guitars and plod along the usual road to indie-rock pointlessness, Scott Cortez bathes every inch of his music in scintillating, corruscating layers. His expressive 12-string figures shimmer and dance like ripples on a still pond. They glide across tape loops and electronic filigree, barely disturbing the sacred calm of Isabel’s bewitching vocals. All this floats above a bed of resounding bass, the type of low-end rumble you’d hear in the precise sound constructions of zoviet*france or Main. There’s no question that Loveliescrushing are peerless. Cortez’s four-track sorcery doesn’t fit in the low-fi pop aesthetes, and his tonal experimentation is leagues ahead of the 4AD-worship which pervades so-called “art” music. He’s going to have to accept the fact that Loveliescrushing are making music so far ahead of its time that the world may never catch up. Another extraordinary slice of the Cortez mythos.
A review from Ink 19:
This is some of the most amazing music ever to come off four tracks. Loveliescrushing’s music is soaked in shimmering, fuzzy, noisy brilliance. Beautiful female vocals waft through the hazy, swirling fog of layered feedback drenched, processed guitars. This is ethereal lo-fi at its finest. If these guys were ever to step into a big studio, I think I’d be scared. Each song would probably take forever to finish, too. Limitations are good that way – they push you to make the absolute most out of what you have, which is an art that Loveliescrushing have apparently mastered. This is the second album for these guys, but some of the material was apparently recorded before Bloweyelashwish. Whatever. Xuvetyn is glorious from start to finish, very much in a loveless-era My Bloody Valentine-gone-ethereal vein. Genius.