I think that MBV paints in broader strokes. Kevin Shields has said something to the effect of the lyrics not really mattering, and I think it shows, as the words are barely comprehensible, shrouded in whole atmospheres of sonic texture (for what it's worth, I think the lyrics matter immensely and are absolutely gorgeous). Melodies still soar through, but what is felt most prominently is largely inexplicable affect. I think that if there were an important story, the music would come through most prominently in the lyrical content, as it does in much folk music, hip-hop, opera (though less comprehensible), etc. There is no sonic narrative either (the songs largely have a vibe that sticks throughout the duration and have little compositional development), so I wouldn't assume much of a lyrical one.
Instead, I think we are left with these inexplicable affects, and what I get from this is emotional detachment from a loved one. Perhaps the scene is one being aware that they should be feeling something, but they cannot, and they are stuck in a habitual or compulsive method of detachment. They long to feel but keep justifying entering this detached space, but put on a front to appease a loved one, acting as they know they should. I wouldn't be surprised if "come" has an ambiguous meaning, meaning be there for you, as well as attempt to show affection through sex. Most of all, this is a struggle between a level of intellectual awareness and emotional oblivion, and a relationship with another party is the main victim of this battle.
Best about this music is that these lyrics are vastly open. MBV is never telling or dictating anything with their words or instruments for that matter. Before any effects, processing, or post-production, this stuff is played on instruments which give off much less sonic density, and these clear melodies, harmonies, lyrics, timbres, and motifs are purposely shrouded in distortion, reverb, and general white noise. Each element still carries weight and compositional importance, but is made into more of an ingredient in a homogenous sound-soup.
I think that MBV paints in broader strokes. Kevin Shields has said something to the effect of the lyrics not really mattering, and I think it shows, as the words are barely comprehensible, shrouded in whole atmospheres of sonic texture (for what it's worth, I think the lyrics matter immensely and are absolutely gorgeous). Melodies still soar through, but what is felt most prominently is largely inexplicable affect. I think that if there were an important story, the music would come through most prominently in the lyrical content, as it does in much folk music, hip-hop, opera (though less comprehensible), etc. There is no sonic narrative either (the songs largely have a vibe that sticks throughout the duration and have little compositional development), so I wouldn't assume much of a lyrical one.
Instead, I think we are left with these inexplicable affects, and what I get from this is emotional detachment from a loved one. Perhaps the scene is one being aware that they should be feeling something, but they cannot, and they are stuck in a habitual or compulsive method of detachment. They long to feel but keep justifying entering this detached space, but put on a front to appease a loved one, acting as they know they should. I wouldn't be surprised if "come" has an ambiguous meaning, meaning be there for you, as well as attempt to show affection through sex. Most of all, this is a struggle between a level of intellectual awareness and emotional oblivion, and a relationship with another party is the main victim of this battle.
Best about this music is that these lyrics are vastly open. MBV is never telling or dictating anything with their words or instruments for that matter. Before any effects, processing, or post-production, this stuff is played on instruments which give off much less sonic density, and these clear melodies, harmonies, lyrics, timbres, and motifs are purposely shrouded in distortion, reverb, and general white noise. Each element still carries weight and compositional importance, but is made into more of an ingredient in a homogenous sound-soup.