superfuzz said: do you mean when you play a chord and at the when the chord starts dieing out you push the trem arm down and pull up?
Bingola. Dizzying stuff when put in the right places, something I love to do especially on barred-9 chords . Things start making sense when it's applied in multi-panned layering on more than a few tracks. When you've got a few lines doing the same thing yet none are in tune with each other and are slightly buried in reverb, the mix gets incredibly nauseous and very circa 1991-sounding. The opposite(pushing down on the trem every downstroke) is easier to do and has a mesier, more abusive feel to it.
By the way, study the melodic phrasing off of Loveless and you'll notice how unconventional the structure actually is. A friend of mine and I were talking a while back how every song MBV did during that era had an additional 2-measure tail at the end of every sung section, a very intentional twist Mr. Shields added to construe predictable pop. I find it more interesting than the actual music from the album, really.
