Body of Song

by

Bob Mould

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With Body of Song, Bob Mould - arguably one of the most talented singer/songwriter/guitar-heroes of the last twenty years (indie or otherwise) -- has finally found a balance between what he does best (searing guitar indie angst anthems) and where his experiments in sound (as DJ, producer, and electronic artist) have since taken him.

The same themes are here: loss, regret and the urgency of time, but there's also a strong undercurrent of hope, or at least confidence in the wake of loss. And that confidence is bolstered by a kick-butt rhythm section, courtesy of Fugazi drummer Brendan Canty and SUGAR alum, bassist Dave Barbe.

As if meant to act as chemical catalyst to combine all parts of his career, the album begins appropriately enough with "Circles," a thematic and sonic fusion of the best that is Bob Mould. And circles spiral from there, coming back around to remind the listener of the various stages that have led Bob to this point: from Husker Du to his solo work in the early nineties, from SUGAR to Loudbomb and back again. But make no mistake, this is new music. And without abandoning the electronica/dance influences that have obviously become a seminal part of the Bob Mould arsenal, Body of Song rocks.

1) Circles: a slow build. dynamic, hypnotic, and heartbreaking. One of the best tracks from Bob in years.

2) (Shine Your) Light Love Hope: a throw-away dance track at first listen, but one that reveals some interesting guitar work on further plays. Then the entire track gets in your head.

3) Paralyzed: the single, and for good reason. What could easily have been a SUGAR arrangement gets tweaked electronically with one of the better Bob uses of keyboards ever.

4) I am Vision, I am Sound: somewhat repetitive opening becomes an all-out rocker once the rhythm section kicks in.

5) Underneath Days: Darker, angrier Bob that plays well positioned here in the middle of the album. A needed descent.

6) Always Tomorrow: A little muddy and over-produced, but one of those songs that sneaks up on you as you continue to play the album through.

7) Days of Rain: One of those bittersweet Bob love songs that fans will immediately know and love.

8) Best Thing: Could easily be a SUGAR track.

9) High Fidelity: Once you hear the tubular bells and Hammond organ in the arrangement, you know this ain't no Workbook wannabe, but the acoustic base of this ballad is solid.

10) Missing You: From the layered harmonies to the power chords, close your eyes and this IS a SUGAR track. For fans who think Bob has strayed too far into electronica, this is your reminder that the guy can rock.

11) Gauze of Friendship: The closest to an "acoustic" song on the album, and a treat for fans of the simple pleasure of Bob playing guitar while somber strings support him. Reminiscent of "Along the Way" from LDAPS.

12) Beating Heart the Prize: A little weak for a closing track. Still, as would be expected on a Bob Mould album closer, there's some noise, some angst, some length, and some semblance of resolution.

Without even considering Body of Song, Bob Mould has earned his place as indie rock icon. With Body of Song, he reminds us why, pushing his talent forward, making no apology for the often chaotic and at times, disjointed, but nonetheless powerful hybrid that is his signature sound.

As a "return to form," this is rather timid and tepid. Sorry for the loaded adjectives -- I will give its praise before I discuss its shortcomings.

It is definitely reaffirming to hear Bob Mould put out a (mostly) guitar-based album after the debacle of "Modulate." Not that "Modulate" was entirely without merit, but it is not in any way easy to listen to. It seems forced and calculated and aimed at quite a different audience than "Black Sheets of Rain" or "Copper Blue" or "Beaster." Bob had to know his average fan was not much of an electronica listener, after all!

"Body of Song," long rumored to be an all-acoustic project, has been in the works for years. Mould even refered to it indirectly as his "Nick Drake album" on the interview disc included with "Last Dog and Pony Show."

The resulting album is far different -- and not necessarily in a bad way -- than what it was built up as all these years. Face it, if he was not feeling motivated to put out an all acoustic album, it's probably better that he didn't. His stripped down material works best when it has the same passion behind it as his eardrum-shredding electric guitar work. And to it's credit, "Body of Song" has some great acoustic-dominated moments -- most notably "Nihil" on the bonus disc.

The remainder of the electric guitar songs are solid and decently rewarding. One can easily hear the maturity in his singing voice -- and simultaneously miss his old multi-tracked whine and its gripping pathos. "Body of Song's" vocals are clear, up front in the mix, and ever-so-slightly dispassionate. That, and a bit of the production trickery from "Modulate" has lingered -- vocals echo, ping-pong from speaker to speaker, and shimmer drenched in vocoder and other effects.

The bonus disc is well worth owning, often trumping the album itself. "Castor and Pollux" finds Mould marrying his love of electronica and his guitar skills without any of the self-consciousness of "Modulate." "Surveyors and Cranes" could have easily been exchanged for any track on the album proper. But who would have ever imagined the songwriter behind Husker Du's "Erase Today" or Sugar's "JC Auto" penning a sexless disco number like "Love Escalator?"

Where "Last Dog and Pony Show" was confident and assured, Mould seems a little lost in his own element on "Body of Song." If he has in fact forgone his love for the distortion-fueled, emotionally charged electric guitar albums he built a reputation and rabid fan-base on, perhaps he should go for broke and go all electronic from here on out.

"Body of Song" is vastly reassuring, but I can't help fearing that this once incendiary guitarist and songwriter is becoming another Eric Clapton: bland, tired, and enslaved by current technology and musical trends.