The Universe and Me (2017)
For the second time, there is a seven-year gap between Sprout’s solo albums. This time around the delay can be contributed to Robert Pollard reforming the classic Guided By Voices lineup for a string of reunion records –
Let’s Go Eat the Factory (2012),
Class Clown Spots a UFO (2012),
The Bears for Lunch (2012),
English Little League (2013),
Motivational Jumpsuit (2014) and
Cool Planet (2014). Shortly after
Cool Planet dropped, the classic lineup was finished again and Tobin was back to operating as a solo artist. After self-releasing
The Bluebirds of Happiness Tried to Land on My Shoulder the last time around, Sprout hooked up with indie label Burger Records for
The Universe and Me. In addition to releasing Tobin’s latest album, Burger reissued his first two records,
Carnival Boy and
Moonflower Plastic, both which had been out of print.
The Universe and Me was recorded entirely at Tobin’s Leland, Michigan home studio, and features him playing every instrument, except for three tracks, where Gary Vermillion returns behinds the drums. Sprout had contributed some strong material on those GBV reunion albums and was in the midst of a latter-day hot streak. On
The Universe and Me, Sprout seems fully aware of his own mortality, reflecting back fondly on the innocence of his childhood and tracing it to where he now stands as a sixty-two year old man. The release notes for the album do a good job summarizing the overall vibe of the project:
The Universe and Me takes a deliberately primitive approach that focuses on feeling, as opposed to production. The result is a vague bridge between the ballads of psych-era Beatles, and the haunting vulnerability of Daniel Johnston's Hi, How Are You?. It's no surprise, then, that Sprout penned and illustrated his own magical children's books as The Universe and Me plays like a deceptively dense reimagining of simple subjects like comic books, finding your purpose in life, and growing old.
The album made a bigger impression on fans and critics than his previous one,
Bluebirds of Happiness. Part of that can be attributed to him being more visible in the wake of the classic GBV lineup reuniting. However, I think the overall strength of material plays a role as well. This is a much better album than his previous solo venture. And while he appears to draw inspiration from areas that aren’t as obvious as they sound now (John Lennon, David Bowie and Daniel Johnston), this album is unmistakably a Tobin Sprout production. It is so much so, that the notoriously snarky
Pitchfork, in its review of the record, proclaimed, “Sprout’s dogged insistence on sticking to his original strategy casts him as the AC/DC of lo-fi rock.”
1.
Future Boy Today/Man of Tomorrow – Tobin utilizes an old GBV tactic with his first solo “slash” song. Ironically enough, this one Sprout wrote for the next GBV album. As mentioned above, Pollard disbanded the classic lineup and the next Geebs record, 2016’s
Please Be Honest, did not include Sprout. Instead the song surfaces on a solo record. After a late start hitting the record button, this one is off and running. Classic, distorted, chugging, lo-fi garage rocker that fans of Tobin’s old band have come to know and love. “There’s just so many things that need to be explained.” (7.5)
2.
The Universe and Me – Back to the grand piano for the title track on this ying to the previous track’s yang. As I’ve mentioned several times before, one of Tobin’s primary inspirations has been Paul McCartney. Here he comes off sounding more like Paul's old bandmate, John Lennon, in his post-Beatles solo career. “I’ll take along my wings so all my dreams can fly.” (7)
3.
A Walk Across the Human Bridge – Another stylistic detour from Sprout as he gets all loose and sloppy. This time he dips into the sleazy, glam rock world of David Bowie and Mick Ronson. Not a side he typically shows, but it is great when he lets it rip, as he does here with some wicked guitar shredding. “Something’s broken, something’s broken…” (9)
4.
Manifest Street – From one of the most high-energy tracks he’s recorded, to a tender, bleating song that could pass for a lullaby. After all, Tobin has written and illustrated children’s books like
Tinky Puts His Little Moon to Bed. A master of many trades, Sprout exhibits some great acoustic guitar playing. “In a treasure chest, the dreams you’ve kept.” (7)
5.
Honor Guard – Piano ballad with some awkwardly-strummed, fuzzed-out guitar. Production weighs things down with a muffled cloud of distortion. Vocals buried so deep you can barely make them out. Comes off like an extended snippet. “Don’t you cry wolf.” (6)
6.
When I Was a Boy – Another child-like piano ballad with Tobin sounding incredibly young and vulnerable. Strong Daniel Johnson vibe to this beautiful song that has the adult Sprout reflecting back on boy Sprout. “I still see the boy. I still feel the days.” (8)
7.
Cowboy Curtains – Another Lennon-styled piano ballad with blasts of distorted electric guitar. Really dig the double-tracked, harmonizing vocals. Sounds like a lost
Plastic Ono Band track. “Even though we’re certain, take us away.” (7)
8.
Heavenly Bones – Side two opens with a dirgey, piano track that drags a bit. Tobin had some good back-and-forth sequencing going earlier, but now the record gets bogged down a bit. “We watched the parade as it swirled and slipped away.” (5)
9.
Heart of Wax – The piano streak is broken with this lively acoustic guitar track that provides some much-appreciated sunshine. In a fair and just world, this is an indie hit. “Walk in the clouds with a heart of wax.” (8.5)
10.
I Fall You Fall – Ten songs into his second post-GBV solo album, Tobin drops this masterpiece on us. The track is an infectious, Crazy Horse-styled stomper and I simply can’t get enough of it. In a neck-and-neck race with “Hit Junky Dives” for my favorite solo Tobin Sprout song. “It’s so simple.” (10)
11.
Tomorrow From Heaven – Tobin’s vocals are buried deep in the mix on this mid-fi piano/acoustic guitar offering. Add a layer or two of distortion, and it’s essentially impossible to make out the lyrics. Still, dig the mood he is able to conjure. “It’s the end of the night, cool heads take flight.” (6)
12.
To Wake Up June – What sounds like a cacophonous fiddle overtakes something that began as another piano ballad. Once again, lyrics are difficult to discern. (4)
13.
Just One Kid (Takes on the World) – High-tempo, garage punk shredder that explodes out from the shadows of the previous two muffled-lyric tracks. Tobin reconnecting with some of that sleazy glam rock he tackled on “A Walk Across the Human Bridge.” “So your birthmark looks like Satan…” (7)
14.
Future Boy (Reprise) – The opening track is rearranged as, you guessed it, a Lennon-styled piano ballad. Beginning sounds a lot like the aforementioned artist’s “(Just Like) Starting Over.” I like the previous arrangement better, but this one works, too. “A man of tomorrow…” (6)
You are entitled to your opinion, but you are not entitled to your own facts.
- DPM