Built to Leak: When the Wind Forgets Your Name Album Review

Doug March remains committed to unloading his legend. for decades built to leak Frontman has dropped any suggestion that he is an outstanding songwriter or great musician. “I’m not good at playing guitar,” he insisted recent interviewhis latest effort to downplay the engineering achievement of three of identification Andy rock albums from the nineties. Whatever greatness fans hear about his music, March stresses that he doesn’t.

This attitude may have started as humility, but at some point March began to internalize the idea of ​​his indistinctiveness. Since the Build to Spill hotline ended with the uneven 2001 Old future melodies, Martsch held the group as the very good entity rather than the great that they had always been in as in his head. They’ve gone on releasing new albums every five years or so, and they’re all worthwhile—mostly better than you remember, but never as transcendent as you yearn. The magic of the band’s peak still remains, but the consistency isn’t. Their subsequent albums don’t stick like the classics.

Built for Spill’s latest, When the wind forgets your nameShake things up without breaking the pattern. It’s the project’s first release for Sub Pop, and it’s recorded with a new (and already retired) lineup that includes Le Almeida and João Casaes from the Brazilian jazz and rock band Oruã. These temporary bandmates also helped March blend the album’s reed beats, crisp textures, and psychedelic motifs, giving it a very different feel to the band’s signature records with Phil Ek.

This is the first record created for Spill in a while with new ideas. The entire album is full of great surprises, from carnival of soulsA musical instrument that dances between Marche’s solos on “The Elements” to guitars scented with patchouli, emphasizing the astonishing mysticism of Fahm. The Rich Life Queen Contest The ‘Spiderweb’ resonance gives way to one racy twist after another; It is the newly rare track “Built to Spill” that generously features complex melodies that rival Keep it like a secret. With jerky guitar twitches, “Never Alright” starts off as the most obvious Junior dinosaur. Have you ever tried Tribute March. Then he sheds his skin many times and ends up as something the complete opposite of Dinosaur Jr.

In that song, March returns to his most common inspiration: the difficulty of reconciling the inevitable defeats the world, one by one. “No one can ever help anyone not have their heart broken,” he sings. “It’s okay” immediately followed by a more optimistic counterpart, “Okay,” but hope is always relative in a record built until spillage: “Life goes on and on year after year,” March sings. “I wouldn’t recommend it, but I’m glad I’m still here.”

if When the wind forgets your name No more than the sum of its many satisfying parts, it’s mostly because of the choppy speed. Especially in the opening half, many tracks get bogged down by somber tempos that stop the record whenever it’s locked in with a big stride. Martsch may not be able to write a bad song, but the racy “Fool’s Gold” is as close as he gets, and he’s soaking up much of the album’s power proactively by putting it right after the opening ripping “Gonna Lose.”

Such inadvertent mistakes really drag the album down, but this is the story of the late period of “Built to Spill”: No matter how powerful their recordings are, they always seem to tease a better song out of their reach, provoking fans for what could have been. However, When the wind forgets your name It shows that in generous batches, this band still looks just as driven and honest as they did a quarter century ago. If the album is below that, it’s because they are all right now. But with their mini albums still coming in, it’s one of the best.

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Built to spill: When the wind forgets your name

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