Taylor Parkes comes back with a clarification/elaboration upon his claim that
MBV poisoned the Britrock pond for half-a-decade
"I was thinking more generally of the shift from the clean sounds of the 1980s (where the interplay between instruments was crucial) to the early-90s thing of massed, ultra-distorted guitars - which I remember extending way beyond shoegaze - encouraging laziness in playing and arrangement. In other words, MBV used that sound, subtly and with great skill, to create new atmospheres, while a thousand bands that emerged in the next few years just blasted away with a bunch of effects pedals and hoped for the best, and it wasn't just the shoegazers. That messy sound hung on as far as Oasis - very much a post-Valentines band, but with all the avant-garde stuff stripped away. They very definitely stole the big billowing guitar sound from "Isn't Anything" while missing the point. They played neat Beatley songs which were too slight to stand up by themselves, so they reached for the blizzard-of-noise to give themselves a lift - and the result was a sort of sludge that stopped them developing as a band (although I doubt that would have happened anyway), and was a million miles from the kind of skilful two-guitar pop their songwriting drew on. That bleary sound wouldn't have existed without "Isn't Anything" and "Loveless". I just seem to remember almost every group for the best part of a decade featuring two guitarists thrashing away with lazy strumming, amplified and distorted to hell. No subtlety, no push-and-pull, just an almighty racket that really had nothing in common with MBV's sculpted noise, but was clearly drawn from it. It was what made most indie rock gigs so miserable throughout the 90s."