La La Land (2023)
As this thread has hopefully demonstrated, Robert Ellsworth Pollard Jr. is peerless when it comes to prolificness. It is standard practice for Pollard to release at least three full albums in a calendar year. What makes this even more remarkable is the time frame for which he’s been operating at warp speed. This year marks the fortieth anniversary of Guided By Voices, and Pollard has once again rewarded his fans with another tight, consistent batch of songs. The same lineup, which has been together since 2017 and has already pumped out FOURTEEN albums – two of them double records (
August by Cake and
Zeppelin Over China) – is back again on
La La Land. And only in the GBV universe can a follow up album (
Welshpool Frillies) be announced as in the can before the new one is even officially released. Pollard is on a creative tear and it appears there will be no stopping anytime soon. Several months ago, when
La La Land was announced, it was billed by Rockathon Records as “somewhat of a companion piece to
Tremblers and Goggles By Rank” and that the album “continues to explore a path of diversity in styles and in longer, more adventurous song structures.” This had the prog lovers in the GBV fan base fired up. However, upon arrival, the description of the album doesn’t seem to match what it actually is. Aside from the nearly-six-minute “Slowly on the Wheel” which closes Side 1, the prog element on
La La Land is actually less present than on recent recordings like
Tremblers and Goggles by Rank,
Surrender Your Poppy Field or
Sweating the Plague. There are a handful of songs which exhibit some proggish influence, but not in an abundant or unusual way. Additionally, more than half of the record’s eleven songs fail to make it to the three-minute mark. The current lineup clearly has shown an ability to deliver more intricate and varied song arrangements than the classic lineup, but
La La Land is not the record I would point to as the best example of this. That said, it is another strong and consistent collection of songs for Pollard fans to devour. This current lineup that includes Doug Gillard (guitar), Bobby Bare Jr. (guitar), Mark Shue (bass) and Kevin March (drums) has been remarkably strong and consistent. In addition, producer/sound engineer Travis Harrison has really elevated the band’s work with his masterful production both in the studio and at the live show. Forty years in and, defying the odds and conventional wisdom, Pollard continues to churn out fresh, exciting material at the same frenzied pace he has done for decades.
1.
Another Day to Heal – Spunky, propulsive garage rocker that fails to reach the two-minute mark to kick things off. Boilerplate GBV. “Typically outsized, galaxy clockwise, you can’t see it – your age-old lover.” (7)
2.
Released into Dementia – The opening seamlessly transitions into this one, with some added cream to balance out the harsh churn. Gillard unleashes a great guitar line and Pollard adds some Little Drummer Boy-esque “Pa rum pum pum pums” during the outro. “We can feel righteous and numb.” (8)
3.
Ballroom Etiquette – Jangly track that would’ve fit in perfectly on the excellent 2018 album,
Space Gun. Pollard has, seemingly-effortlessly, crafted another infectious pop gem. “But you can never know the speed – is it 33 or 45?” (8)
4.
Instinct Dwelling – Bob and the band transition from bright sunshine to a more snarling, menacing arrangement. My favorite track on the album, I can see this becoming a live staple for years to come. “Front-door lobbies for acronyms, L.A. gyms can pack ‘em in.” (10)
5.
Queens of Spaces – Another abrupt stylistic shift to one of the more serene songs GBV has ever done. Another fantastic Gillard string arrangement provides great atmospheric depth to the track. “No one alive can reach her now.” (7)
6.
Slowly on the Wheel – Having no-hit Indiana Central when he pitched for the Wright State baseball team, Pollard similarly keeps the listener off balance by tossing another curveball with this epic, six-minute prog-suite on the side one closer. Starting off with a single piano key struck over and over, this one builds and explores a wide range of styles and influences on this multi-part track about Jack & Jill. “Gargoyle as hoodwinked ornamentals proud, perform her evil bidding war.” (8)
7.
Cousin Jackie – Side two opens similarly to side one with a punchy rocker that expertly incorporates elements of pop and prog into the arrangement. Love the “All Right Now” riff Gillard drops a little more than a quarter of the way into the song. “Make it rain wine and whiskey on this ritual and ceremony. Take away our pain.” (7.5)
8.
Wild Kingdom – Strong Circus Devils vibe to kick this one off before morphing into another classic GBV fist-pumping anthem. Gives “Instinct Dwelling” a run for its money as the top track on the record. A slightly restrained Gillard riff ushers this beauty out. “The new chameleons never change. They just get better costumes.” (10)
9.
Caution Song – Back to the creamy space previously occupied by “Ballroom Etiquette.” A beautiful, melancholic song that lures you in and leaves you craving more. “Who are these people, anyway? Who wants a sad song these days?” (8.5)
10.
Face Eraser – Pollard and company dial up the energy again with another pulsating, power pop offering. “Go down in the first round. The fistic circles statistically have found what you need.” (7.5)
11.
Pockets – The energy from the previous track is perfectly maintained on what proves to be yet another excellent album closer. Some great guitar fills throughout on this track that would’ve fit right in on 2003's
Earthquake Glue. As they do throughout the album, the rhythm section of Kevin March and Mark Shue keep this one chugging along. Shades of The Who, along with Pollard's inaudible shouts in the background during the outro. “Breaking the seal on the lawn of display with hands in my pockets and my back turned away.” (9)
You are entitled to your opinion, but you are not entitled to your own facts.
- DPM
