What did (you say you'd) find Then come, come, come Get the hell inside You can close your eyes Well you might as well commit suicide Wait for me because I waited for you No that's not what you should do Don't hate me 'cause I don't hate you Insane eyes You made me realise Something in you died Well no, no, no, no fault of mine Something in you died Well no, no, no, no fault of mine Make the (hell) out of what you can see Maybe then you'll not hang beside me Don't ask me 'cause I cannot see Insane eyes You made me realise What did (you say you'd) find Then come, come, come Get the hell inside You can close your eyes Well you might as well commit suicide Wait for me because I waited for you No that's not what you should do Don't hate me 'cause I don't know you Insane eyes You made me realise
What did (you say you'd) find Then come, come, come Get the hell inside You can close your eyes Well you might as well commit suicide Wait for me because I waited for you No that's not what you should do Don't hate me 'cause I don't hate you Insane eyes You made me realise Something in you died Well no, no, no, no fault of mine Something in you died Well no, no, no, no fault of mine Make the (hell) out of what you can see Maybe then you'll not hang beside me Don't ask me 'cause I cannot see Insane eyes You made me realise What did (you say you'd) find Then come, come, come Get the hell inside You can close your eyes Well you might as well commit suicide Wait for me because I waited for you No that's not what you should do Don't hate me 'cause I don't know you Insane eyes You made me realise
Foi o primeiro lançamento do My Bloody Valentine pela Creation Records, marcando a estreia da banda no selo.
Nos shows, a parte final da música se transformava em um “white noise” chamado “the holocaust”, repetindo um único acorde por até 20 minutos (e uma vez chegou a 40 minutos).
Kevin Shields revelou que o efeito de “reverse reverb” usado na faixa foi descoberto em 1988 e, ao perceber sua sensibilidade à velocidade da palheta, passou a criar ondas sonoras enormes ao tocar mais suave ou mais forte.
A performance ao vivo gerou reações extremas: alguns fãs entraram em fúria diante da sobrecarga sonora, enquanto um show na Alemanha deixou Shields assustado por causa da presença de armas e de um público “bizarro”.
Shields citou Sonic Youth (Thurston Moore) e Dinosaur Jr. (J Mascis) como influências decisivas para o som agressivo e experimental de “You Made Me Realise”.
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