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Kevin Shields (18), of Northland Road in Londonderry, admitted offences including burglary and criminal damage. Defence counsel Nicola Rountree said he regretted his actions and did not realise that the solicitor's office was a business premises, and that he had been using it for a drinking den.

It is said that during the making of [Loveless], such was [Kevin Shields]' singularity, that Creation Records' bigwigs Dick Green and Alan McGee - to whom Shields was contracted - went grey and bald respectively overnight. \"That wasn't my doing and I'm sure it didn't happen,\" Shields shrugs. \"But wouldn't that be a great power to have?\" He chuckles, then his jaw muscles bunch. \"You know, people shouldn't sign bands like us if they don't want to take on that responsibility. It's like getting a pack of big dogs and not feeding them. We were taken on . . . carelessly. I just wanted to focus on music but McGee and Green hadn't encountered someone like me before, a person that they couldn't control.\" eulogises pioneering Pil guitarist Keith Levene (\"just sublime and utterly without ego\") and Killing Joke's Geordie Walker (\"this effortless playing producing a monstrous sound\"). He even has a soft spot for the Cockney Rejects, pugnacious purveyors of football singalongs. \"Great guitar,\" he marvels, fingering a bar-chord air riff. \"And always for the greater good of the song.\" albums had to have \"a digital and physical distribution deal in place in the UK\". m b v was self-released, with the digital version available only through the band's own website. \"In their eyes,\" he concludes, after a lengthy, comma-free rant, \"what we're doing is illegal. Not within 'the rules'. We don't exist.\"

Shield's vocal absence seems even more important on a duet like When You Sleep, when only the childlike whisper of his co-vocalist/co-guitarist Bilinda Butcher pierces though the intoxicating din. [Kevin Shields] and Bilinda stand static and staring shoewards lit by a psychedelic VT, while back of stage bassist Debbie Googe and busy drummer Colm O'Ciosoig thrust themselves into the rhythm.

When rock stars swap their Fender Jaguar for an acoustic guitar, it usually signals a course correction toward calmer waters. For Kevin Shields, it is a cue to trigger debilitating waves of sound and relentless strobes. Cigarette in Your Bed sounded dreamy on record in 1988. Live in 2013, it is an aggravated assault, Bilinda Butcher's sweet voice brutally tossed around in a maelstrom. This is music repurposed as drone warfare, yet the sold-out crowd take their punishment and bellow for more.

[Kevin Shields] and his colleagues were playing a longer game than that: 22 years on from [Loveless], this week their third album m b v suddenly appeared for download on the band's website. As before, it's a woozy, deceptively desultory experience, with all sonic elements - and the dreamy murmur-whispers of Bilinda Butcher (above) and Shields buried deep inside - conspiring to keep tracks like \"she found now\", \"only tomorrow\" and \"who sees you\" free from anchorage.

In one sense, the arrival of My Bloody Valentine's m b v was - to use a word no one had heard of the last time the quartet released an album - an omnishambles. A follow-up to 1991's Loveless was supposed to appear at the end of last year; instead, nothing happened bar an announcement that the album was complete. Nine days ago, in response to a fan's shouted query at a gig, Kevin Shields muttered noncommittally that it \"might be out in two or three days\". Then, when the album finally did appear to download, just before midnight on Saturday, the band's redesigned website immediately crashed, causing an enterprising person in Indiana to try to involve the US president himself. \"The My Bloody Valentine website isn't working and there's a new record on it,\" read a petition filed on the White House website. It's not m b v's only unexpected moment. The closing Wonder 2 is flatly astonishing. Most attempts to meld drum'n'bass with rock are almost unimaginably awful: ungainly, clodhopping attempts to squeeze guitars somewhere amid the genre's rhythmic clutter. But Wonder 2 sounds incredible, like the sonic counterpart of a dust storm, with Shields's vocal - another beautiful melody - drifting pacifically through it. It instils a kind of pleasurably baffled awe: how did someone arrive at the conclusion that a song should sound like this? Then again, as was established long ago, with My Bloody Valentine, inexplicability is very much part of the deal.

In one sense, the arrival of My Bloody Valentine's m b v was - to use a word no one had heard of the last time the quartet released an album - an omnishambles. A follow-up to 1991's Loveless was supposed to appear at the end of last year; instead, nothing happened bar an announcement that the album was complete. Nine days ago, in response to a fan's shouted query at a gig, Kevin Shields muttered noncommittally that it \"might be out in two or three days\". In another sense, however, this was just a very My Bloody Valentine kind of album launch. For one thing, it isn't really a My Bloody Valentine album unless someone has been driven to the brink of insanity by Shields's whimsical attitude to deadlines.

The shock-and-awe release opens with the relatively understated 'She Found Now'', a classic slice of My Bloody Valentine, while 'Only Tomorrow' ' is the album''s first highlight - a strident, punchy number underpinned by Bilinda Butcher''s ethereal vocals and a colossal guitar riff from [Kevin Shields].

More indie split news: Ben Gibbard and Zooey Deschanel's relationship has gone the same way as Thurston Moore's and Kim Gordon's.