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Guided By Voices, "Half Smiles of the Decomposed"
Matador
After months of waiting, the final album from legendary rock bandGuided By Voices is now released, no doubt provoking water coolerdiscussions about the band's career in the offices of entertainmentmagazines everywhere. Fans have been divided for some time, too —though many buy the records on principal despite misgivings —particularly about Pollard's higher fidelity obsession since 1997's Mag Earwhig!.The record, then, has the unfortunate position of having to provide acloser for over 20 years of music in just fourteen songs, and for themost part it accomplishes this goal. There are plenty of tracks thatfeature the classic Pollard lyrical strangeness ("You're gonna fuck upmy make-up/you're gonna make up my fuck-up"), and a full complement ofmixing styles, so there's a summary of the band's style and functions.Sadly, it just doesn't have the magical realization that everyone hopesfor in a final album, but these sort of things rarely do. To expect aband to be able to sum it all up in those songs — the highs, lows,strife, stress, exhilaration, and passion — is a bit much, but thereshould be some hint of why this is the end. And there isn't here, thatI can find. What there is to be found is another quirky and catchygroup of songs, right out of the gate with "Everybody Thinks I'm aRaincloud (When I'm Not Looking)." Chiming guitar, Pollard'sdouble-tracked vocals, and solid backing make the song a rollickinggood time, and there is an overwhelming feeling of being let down andlonely by choices one has made. Perfect opener. Then the murderingdarkness of "Sleep Over Jack" takes over, and it's even more deliciousthan the opener, an almost modern day Sweeney Todd. It's thiswarring personality that consumes most of the record; a strugglebetween the light and dark sides of emotion, with no clear winner. Notthat there has to be: to choose between "Gonna Never Have to Die" or"The Closets of Henry" and "Tour Guide at the Winston ChurchillMemorial" or "Sing For Your Meat" would be impossible, anyway. That'sthe mark of a truly great album, where every song carries the wholealbum's weight and doesn't buckle. In that regard, this is the bestlegacy Pollard and Co. can hope for, including returning member TobinSprout, who recorded parts for the record, as well. This is what theywere adept at providing for their fans: whole albums of great songs.Once again, they succeed, and though it's not the last we'll hear ofthe band's members, it is this band that will be missed. Farewell, GBV,and thanks for the memories.
After months of waiting, the final album from legendary rock bandGuided By Voices is now released, no doubt provoking water coolerdiscussions about the band's career in the offices of entertainmentmagazines everywhere. Fans have been divided for some time, too —though many buy the records on principal despite misgivings —particularly about Pollard's higher fidelity obsession since 1997's Mag Earwhig!.The record, then, has the unfortunate position of having to provide acloser for over 20 years of music in just fourteen songs, and for themost part it accomplishes this goal. There are plenty of tracks thatfeature the classic Pollard lyrical strangeness ("You're gonna fuck upmy make-up/you're gonna make up my fuck-up"), and a full complement ofmixing styles, so there's a summary of the band's style and functions.Sadly, it just doesn't have the magical realization that everyone hopesfor in a final album, but these sort of things rarely do. To expect aband to be able to sum it all up in those songs — the highs, lows,strife, stress, exhilaration, and passion — is a bit much, but thereshould be some hint of why this is the end. And there isn't here, thatI can find. What there is to be found is another quirky and catchygroup of songs, right out of the gate with "Everybody Thinks I'm aRaincloud (When I'm Not Looking)." Chiming guitar, Pollard'sdouble-tracked vocals, and solid backing make the song a rollickinggood time, and there is an overwhelming feeling of being let down andlonely by choices one has made. Perfect opener. Then the murderingdarkness of "Sleep Over Jack" takes over, and it's even more deliciousthan the opener, an almost modern day Sweeney Todd. It's thiswarring personality that consumes most of the record; a strugglebetween the light and dark sides of emotion, with no clear winner. Notthat there has to be: to choose between "Gonna Never Have to Die" or"The Closets of Henry" and "Tour Guide at the Winston ChurchillMemorial" or "Sing For Your Meat" would be impossible, anyway. That'sthe mark of a truly great album, where every song carries the wholealbum's weight and doesn't buckle. In that regard, this is the bestlegacy Pollard and Co. can hope for, including returning member TobinSprout, who recorded parts for the record, as well. This is what theywere adept at providing for their fans: whole albums of great songs.Once again, they succeed, and though it's not the last we'll hear ofthe band's members, it is this band that will be missed. Farewell, GBV,and thanks for the memories.
