Pollard Returns to Lo-Fi Form on 'Waved Out'
It's almost comical that Robert Pollard, the singer/songwriter/guitarist
behind Dayton, Ohio's Guided By Voices, releases solo material that he
doesn't feel comfortable recording in the "confines" of GBV.
The band is, after all, a prolific, ever-changing entity known to record in
whatever pop music style that strikes Pollard's fancy.
With so much of the band's sound coming directly from his own ingenuity, it
only makes sense that Pollard might want to retreat and record without the
expectations created by the band's moniker. Now stepping out of the shadows
of GBV, Pollard has created his sophomore solo effort, Waved Out,
due to be released June 23.
Diehard fans who lamented the studio polish of the most recent GBV album,
Mag Earwhig! (1997), will rejoice in the decidedly lo-fi aesthetic
that binds Waved Out's 15 songs.
As was the case on his 1996 solo debut, Not In My Airforce, Pollard
recruits once-and-future members of GBV to back him on a handful of tracks.
In this go-round, they include ex-Breeders drummer Jim MacPherson and the
lone member of the Earwhig! crew still playing with the band,
guitarist Doug Gillard. Gillard, who wrote Earwhig's powerful "I Am
a Tree," co-penned the haunting yet beautiful "Caught Waves Again" on
Waved Out.
The lyrics on Waved Out are some of Pollard's heaviest and most
taciturn. Betrayal, abandonment and insecurity are fairly-consistent themes
throughout the album.
Here, then, is a track-by-track preview of the songs -- two-minute gems all:
"Make Use" -- A song that could have easily been an outtake from
GBV's Vampire On Titus album, with a pounding verse that bleeds into
a majestic, distorted chorus. It comes complete with vocals recorded
backwards a la some of Hendrix's more-psychedelic meanderings. Builds into
a "Maggie Turns to Flies"-like chorus that immediately sets the tone for
the album.
"Vibrations in the Woods" -- A staccato number with odd, start/stop,
oompah rhythms and chants about "heading north." The official elfin rally
song.
"Just Say the Word" -- Pollard produces some trademark, sludgy,
distorted guitar sounds at a midtempo pace. The first dark lyrics of the
album appear as well: "We create no perfect sword/Imagine the table where
I'm bleeding."
"Subspace Biographies" -- If a Bob Pollard album could ever produce
a single, this would be it. A glorious, rollicking ode to stamina, with the
refrain, "There is nothing worse than/An undetermined person."
"Caught Waves Again" -- Hands down the most melodic number on the
album, featuring Pollard weaving his lyrical wizardry ("Rattle man buzzing
made it through customs/Into the void and over the goalpost/Went up north
to where the city lights shine/Like strokes of aurora on bottles of
wine") over Doug Gillard's classical guitar-picking.
"Waved Out" -- The title track deals with a theme that Pollard
examines on the album, the idea of sensory overload from too many waves
(microwaves, radio waves, TV waves, new wave, etc.) filling the air.
Pollard infuses the message with irony, for this is the most new
wave-sounding song on Waved Out.
"Whiskey Ships" -- As anyone who's ever seen GBV live could tell
you, Pollard's no stranger to the sauce. This song, utilizing what sounds
like computerized drums fed through a fuzz filter, shamefully admits that
there's a dark side to sailing on "whiskey ships." Revelatory line:
"Without them, I'm not brave at all."
"Wrinkled Ghost" -- A brief, light, airy song that completely belies
its title.
"Artificial Light" -- One of Pollard's darkest songs: "Tell my folks
I'm captain tonight/Tell my folks I'm dead/I don't want to see them."
"People Are Leaving" -- Co-written by L.A.-based singer/songwriter
Stephanie Sayers, this is a rare, lilting, piano-based number that sounds
like a rainy-day jaunt through London. Dual-level vocals create odd
syncopation over lyrics such as, "The angels are making circles/The gift to
every naked fat baby/But everyone's leaving to look for a new place to
dance."
"Steeple of Knives" -- Pollard harkens back to straightforward punk
sounds, reminiscent of the Ramones, save for a left-field chorus. Should be
a kicker in concert.
"Rumbling Joker" -- An aimless, minor-key draft, dabbling in "Moby
Dick" themes.
"Showbiz Opera Walrus" -- Don't be alarmed that Pollard is 40 years
old and has now written his first waltz. This one's chock-full of enough
psychedelic circus imagery and canned applause to assuage any fans' fears
that the old man's getting soft. Best line: "The road to excess is a time
bomb/The kids in back wipe snot on the tail of the tuxedo."
"Pick Seeds From My Skull" -- Not a stoner's boast, but a simple,
acoustic guitar-based track cranked through the Pollard filter and returned
with computerized, high-pitched vocal harmonies.
"Second Step, Next Language" -- If there was ever any doubt that
Pollard was heavily influenced by The Who, this song will put it to rest.
Though not nearly as bombastic as The Who in their glory, "SSNL" replicates
Pete Townshend's guitar riffing, and Pollard offers up his best attempt at
a Roger Daltrey wail.