August By Cake (2017)
The band Pollard assembled to tour in support of
Please Be Honest [Doug Gillard (guitar), Kevin March (drums), Bobby Bare Jr. (guitar), Mark Shue (bass)] joined Pollard in the studio to cut the next Guided By Voices LP, which was also credited as Bob’s 100th studio album release. The skepticism that some critics and fans expressed over GBV’s return on the previous album where Pollard played every instrument (
Please Be Honest) was blown up on
August by Cake - a sprawling double album with thirty-two tracks, including original contributions from each member of the band. It’s not a thematic concept double album like
Quadrophenia or
The Lamb Lies Down on Broadway, but rather a stylistically diverse double record with more of an
Exile on Main Street or
London Calling aesthetic. While it represents the first double album in the GBV discography, Pollard is no stranger to the double record, having released one as a solo artist (
From a Compound Eye), with Circus Devils (
Sgt. Disco) and Boston Spaceships (
Let It Beard). The liner notes for the LP provide some additional context:
The double album is an important format in Pollard's own musical iconography, and he doesn't take the form lightly - one reason he's planned and abandoned several would-be GBV double albums in the past is his high regard for foundational works like Quadrophenia, the White Album, The Lamb Lies Down On Broadway, Daydream Nation, Zen Arcade, Double Nickels On the Dime - "defining records for these bands," says Pollard. It's important to him that August by Cake not just be a double album but that it be a great one.
The original plan for
August by Cake was to cut a single album of seventeen songs. Bob and the crew assembled at Serious Business Music in Brooklyn with engineer Travis Harrison who had worked with Pollard and Gillard on the 2011 Lifeguards album
Waving at the Astronauts. Harrison also engineered and played drums on another Pollard side project, 2016’s
Starting Point of the Royal Cyclopean by ESP Ohio. And in case you are wondering, yes, both are very good to excellent records. After the recording session was finished, Bob headed back to the familiar confines of his new favorite Dayton studio, Cyberteknics, to record a handful of additional songs. He felt so strongly about the newly recorded stuff that he decided to add them to the record. The number of songs were too much for a single album, but not enough for a double record. Because Bob had recruited such a talented lineup this time around, he felt comfortable asking each member to contribute their own original songs to the project. So each member was tasked with writing and recording tracks on their own to submit for
August by Cake. This resulted in an additional nine tracks which pushed the album comfortably into the double zone.
Sonically, this is a professionally recorded and executed record. The lo-fi charm of the classic lineup rarely surfaces on
August by Cake. This lineup is an experienced, technically-proficient rock and roll tour de force. If you are a fan of the GBV run of records starting with
Mag Earwhig! and concluding with
Half Smiles of the Decomposed, you will find a lot to like on this one. With thirty-two tracks and four different, unique songwriters and singers, this is easily one of the most diverse records in the GBV catalog.
1.
5º on the Inside – “Ladies and Gentlemen, I present to you, August by Cake!” Bob assuming the role as ringmaster to announce the new album, followed by requisite horns. Peppy opening track that does a fine job incorporation Pollard’s “4 P’s” into the track – pop, punk, prog and psych. (8)
2.
Generox Gray – Bob alters his voice to the lower range and works it through a filter of some sort. Plodding, ominous track that chugs along to a neat little organ outro. (6)
3.
When We All Hold Hands at the End of the World – Drum machine that kicks this one off gives it a
Please Be Honest feel. Post-punk guitar lines weaves throughout the track. Has a bit of a classic, workmanlike propulsion to it. Rumination on the current political times? “Look out for truth when it’s full of surprise. In need of assistance? Try one of these guys, but most of all, let us go home again.” (8)
4.
Goodbye Note – The first non-Pollard track is a Gillard pop classic with fantastic riffs. “Stick you in a carrier and take you to the shows. What you think is not work is work, the insiders know.” (7)
5.
We Liken the Sun – This song comes teetering in. Starts off slightly off-kilter, before it finds its footing and begins to soar. Some Gillard noodling on the way out. (6)
6.
Fever Pitch – Some incredibly distorted vocals punctuate this Circus Devils-flavored, lo-fi bridge track. (2)
7.
Absent the Man – Now it’s bassist Mark Shue’s turn to submit a track. Pretty straightforward mid-tempo rock track with a Malkmus-esque guitar part from Gillard. (6.5)
8.
Packing the Dead Zone – “We’re creating a society of cell phone-crazed, marijuana-smoking zombies.” That’s the public service announcement that kicks off this track that laments society’s current state of affairs. Another song with a strong Circus Devils vibe. “Music in boxes, nail heads, hat companies, well-worn fools, a room full of dolls, idol hands, confident knives, psychopath timecard, philosophical zombies, gymnasium rats, negative Twitters, earth politicians and ozone sneakers.” (5)
9.
What Begins on New Year’s Day – Stark contrast in style from the previous track, is a song originally released in 2015 on the Amazon
Indie for the Holidays compilation. This is a really nice sparse, acoustic track with subtle touches of drums and some nice lush strings. Could’ve found a home decades ago on
Something Else by The Kinks. So simple, yet so rewarding. (8)
10.
Overloaded – Another abrupt transition to this up-tempo track via drummer Kevin March. This is a really well-executed indie pop song with a great soaring chorus. Someone’s been studying at the feet of the master of hooks and melody. Fantastic job, Kevin! Clocking in at 3:22, it’s the longest non-instrumental song on the record. “I don’t know which way to fall - feeling overloaded. You say I may be the one to blame. I don’t know which way to fall - I’m feeling overloaded…” (9)
11.
Keep Me Down – This song originally appeared on the 2009 Boston Spaceships LP,
The Planets Are Blasted. It’s slowed down here, with lower fidelity, giving it a sluggish feel. I prefer the original Spaceships version. (5)
12.
West Coast Company Man – Several tempo shifts and styles on this one. One of the more prog-sounding songs on the album. No hint of a British accent or melody in Pollard’s vocals. I’m hot and cold with this one. (5)
13.
Warm Up to Religion – Starts out slowed down before it builds to its dramatic conclusion. It’s another one of those epic-sounding tracks that clocks in under two minutes that only Pollard can pull off. Some great guitar work by Gillard and a wonderful, soaring chorus with some excellent harmonizing “Oooooh’s”. “Why am I screaming? What did I win? A happier face in stained glasses.” (9)
14.
High Five Hall of Famers – Bobby Bare Jr. gets his turn with his trademark gravelly, disconnected vocal delivery. This one will get the toe tapping. (6)
15.
Sudden Fiction – Bassist Shue gets another crack with contribution number two. Sounds a bit like a male-fronted Wild Flag. Some nice hooks incorporated throughout. These other guys can write some pretty catchy tunes, too. More excellent guitar work courtesy of Gillard. (7.5)
16.
Hiking Skin – Mines the similar power pop territory that several of the more pop-oriented songs of the classic reunion albums. Another sub-two-minute number from the master of the compact pop song. (7)
17.
It’s Food – The outro guitar from the previous track is repeated verbatim om the intro part here. Bob seems to be cryptically calling out the food industry. “We can kill them, but we can’t film them. We can can them, but we can’t scan them… Scam them.” (7)
18.
Cheap Buttons – Another tight slice of mid-tempo power pop. Pollard sticks to his hot zone on this catchy track. “10 billion Ringo fans can’t be all wrong. Target your audience, then write them a song.” (8)
19.
Substitute 11 – Starts out very sludgey with Pollard getting into his creep mode lyrically. From there, we get that classic Circus Devils-esque Pollard monotone, narration-singing before the song kicks into another gear. And then the Fading Captain saunters in and the song slowly disappears into the next one. (7)
20.
Chew the Sand – Mark Shue is credited with his third track, an instrumental, which also happens to be the longest track on
August by Cake (3:44). Post-punk in structure and mood, Gillard adds some cool guitar dynamics and Pollard mumbles some indecipherable shit in the background. Sounds a bit odd, but I dig it. (7)
21.
Dr. Feelgood Falls off the Ocean – The drum machine returns with Pollard bringing new life to an old track that first appeared on
Suitcase 2 with the title, “"Something for Susan in the Shadows." Another defiant anthem with a fantastic melody and my favorite track on the record. “And if you could be anywhere in the world now, and if you could have any object desired, you’d grow tired.” (10)
22.
The Laughing Closet – Things slow down on this polished, soft rock-sounding song, complete with lush string accents. Has a bit of a “Hold on Hope” vibe in the production. It’s not as saccharine-sweet as that
Do the Collapse hit, but it gives off similar feels. (6)
23.
Deflect Project – Gillard’s second track is another winner. His vocals have a similar hushed, in-the-background quality that Tobin Sprout’s songs typically featured. Love the music arrangement on this one. Guitar styling is almost like a hybrid of prog and 80s jangle pop. Fascinating stuff. (8)
24.
Upon the Circus Bus – Bobby Bare Jr. is back and singing about Chuck Berry, angry children and low-hanging tits. Songs features the type of background chatter one might hear on a live show taping that took place in the back of a venue where people are more interested in yakking away than watching show. Comes off as BBJ trying a bit too hard to do a GBV-styled lo-fi track from the original classic period. (4)
25.
Try It Out (It’s Nothing) – Hard-charging power pop that has a bit of a
Universal Truths & Cycles feel, minus the heavy prog influence many of those songs featured. The trumpet from the opening track makes a return appearance. Pollard just handing out these sub-two-minute mini anthems like candy. (7)
26.
Sentimental Wars – The last of the non-Bob songs comes from Kevin March. This one has a very high twee vibe and is drenched in earnest sentimentality. However, it never veers into cheesy territory. It’s just a really pretty, well executed, heart-on-your-sleeve track that will work its way into your head and camp out there for a bit. “Just take my hand, I will walk with you. Out comes the sun whenever I’m with you. Just take my hand, I will be with you always.” (9)
27.
Circus Day Holdout – The circus theme makes its second appearance on the album and has made several appearances in Bob’s recent work, most notably on the wonderful 2015 Ricked Wicky LP,
I Sell the Circus. Love the juxtaposition of this creepy, gloomy song coming off the shiny, happy sentimentality of the previous track. This sounds like it would’ve been a perfect fit on the 2015 Circus Devil album,
Stomping Grounds. “Crank up your monkey and organ without me…” (8)
28.
Whole Tomatoes – Bob dials things back with him singing over a pleasant acoustic guitar. Some nice string accents worked in as well. Barely lasts more than a minute, but is a nice snippet. (6)
29.
Amusement Park Is Over – This very strong, mid-tempo melancholic builder is stuffed near the end of a thirty-two track double album. Fuckin’ Bob. Another incredible vocal performance. This one really sneaks up on you and almost gets lost with its curious placement. But I see you “Amusement Park Is Over” you hidden gem, you. “Amusement park is over, they’ll exit holding hands. Amusement park is over. Tearfully, they’ll meet in Summerland…” (10)
30.
Golden Doors – Sparse, acoustic song that sounds like it was recorded in an empty room that was not properly set up for a recording. Demo-quality,
Suitcase-worthy (dare I say) filler track. (2)
31.
The Possible Edge – Bob contorts his voices to sound a bit schmaltzy here on this jangle waltz. The soaring chorus almost bumps it from being a middle-school-worthy slow dance song, but it could still pass for such purposes. (6)
32.
Escape to Phoenix – We get another fist-pumping anthem to close out this massive record. Love the stabbing keys (Jay Gonzalez take note) and the stomping drums. Gillard filling in the cracks with some sinewy guitar lines. Outro brings the “Crank up your monkey and organ without me…” line back from the earlier track “Circus Day Holdout”. (8)
to be continued…
You are entitled to your opinion, but you are not entitled to your own facts.
- DPM