Styles We Paid For (2020)

 Styles We Paid For

(2020, Guided by Voices Inc.) 

2020 saw the world come to a near halt. Daily life uprooted, people adjusting to the much repeated phrase of “the new normal." The year started with a blow to the record industry, as Apollo Masters in Los Angeles burned to the ground, destroying the largest supplier of vinyl lacquer plates in the world. It seemed as if the future of record pressing was in peril as the industry scrambled to make changes to long outdated practices. A month later, the story was nearly forgotten by some of the most indebted music fans and collectors. Soon, it wasn’t just the fact that records were endangered. Record stores,music venues, daily life shut down as sickness took precedent around the globe.

 

In all of the talk of the new norm of the year, blow after blow, one thing remained alarmingly consistent. Yes, if there were any doubts at the impact the events of the year might have on GBV, Pollard and the most formidable lineup assembled to date made sure to squash all fears. It was business as usual by way of Dayton. 

 

With their third LP of the year, GBV was able to match 2019's LP output, appeasing everyone in a time of upheaval. According to Pollard, Styles We Paid For's traditional boombox demos were finished at the tail end of February before being sent to the band to flesh out. Originally, Pollard envisioned the LP as an all analog record with the title Before Computers in mind. Whether true of not, the record saw completion at the hands of trusted engineer Travis Harrison, piecing the LP together from 5 different states digitally. So much for the analog idea.

 

With its December release, Styles We Paid For is a remarkably consistent album, fit for a year end ease into the winter. It's a record a 15 song LP that comes in at under 40 minutes but feels like it takes its time to grow and expand at every turn. Containing no throwaway tracks, it never rushes for attention.  From the ‘70s callback of the cut-and-paste models on the cover, to the tone of the entire record, it’s a great companion piece to watching your breath during a long car ride in the middle of a winter sky, or bundling up on the Barcalounger in a wood paneled basement. While most of the tracks are not as immediate as some on the previously released Mirrored Aztec, it’s a consistently strong sonic grower, full of buried hooks and earworm riffs, best listened to in its entirety.

 

GBV once again proves they are an everlasting force to be reckoned with.

SIDE A:

Megaphone Riley- 4 In his openers, Pollard once seemed a creature of habit. Often, they sounded and contended as flat out hits, always feeling like most GBV LPs came out with a bang. However, since Zeppelin Over China, it’s felt more of an exercise to set the tone of the record. Such is the case with “Megaphone Riley.” Like the LP itself, this one crackles on the wick. A reserved chug building until the band bursts like a underground gas line at max pressure. A moment of bombastic triumph shakes you to the point of revelatory celebration, before the song leads out. A lot to ponder for seemingly little payoff, but one that has the power to call you back continuously... setting the tone of the record if you'll let it in. 

They Don't Play Drums Anymore- 3 Originally released as a “demo” on Pollard’s solo Planet Cake collection earlier in 2020, this is the full band go round. It’s a dim, heavy handed plodder that has more in common with stoner rock than any summery jangle pop you might be looking for. A real grinder of a gray-skies-overhead track that’s oddly infectious over time, but slightly detracted from by the lyrics. Did we really need “beating their puds, staring at their screen savers” in the pantheon of GBV songs?

Slaughterhouse- 4 Certain to be a divisive track, “Slaughterhouse” goes against all perceived GBV ethos. At 4 and a half minutes, and tacked to the front end of an LP, it has the power to stall an already groggy record in its place if you let it. However, more so than the proceeding track, this one is even slower in its plod, heavier in its grind, equal parts simplistic sinister yet joyous in the resonating lead notes. A wonderful combination of powers, the current lineup coming together to make a potential drag-ass of a track into a hulking, spaced out head nodding shoegazer.

Endless Sea Food- 3 For the first time on this record, GBV present something lighter in tone. The first breath of fresh air, cracking the window a tad to try to let in some spring air. In fact, the whole song is downright "airy." The guitars are crisp, the distortion is dialed back to almost naught, Pollard's vocals lean. Sounding somewhat like a mid-00s Pollard solo track, it’s a bright inclusion that sees us out with heavy handed symphonic outro. 

Mr. Child- 4 One of the internet sneak peak tracks of the LP, “Mr. Child” rides on its impactful snotty lead riff. The song rolls along at mid-tempo, holding it all together with said guitar leads. By its triumphant end, it’s an all out cause for celebration, Pollard bellowing in high form. 

Stops- 3 Could have been a lost Moses on a Snail track. So much density in this one, Pollard sounding like he's singing into a cold winter's night air. The band appears distant in the background at times. A real slow, beautiful mover. A 2 minute near ballad that stands as a gap track of sorts in the thick of things. Sticks the least, but revisits make it feel like you have a temporary home here. 

War Of The Devils- 4 Leave it to a song with "Devils" in the title to conjure up the most Circus Devils' memories of the LP. A multifaceted mystic prog rocker that brings to mind "Steppenwolf Mausoleum" before disintegrating into sonic breakneck guitar ping-ponging and eventual aural implosion. 

SIDE B:

Electronic Windows To Nowhere- 5 Holy autotuned hell! For a record originally called Before Computers this song reeks of digital cosmetics. It's also a part of what makes it so irresistibly odd. What happens when you plug a GBV formula into your hard drive and let the motherboard produce the results? This stands as almost annoyingly catchy. But it's one that sicks to your brain like bubble gum on hot summer's tar. It's inviting, simple. A revelatory ray of sunshine to open up the second side. 

Never Abandon Ship- 4 Continuing with the brown and gray tone of Side A, another serious mid-tempo song that relies on the warmth of its guitar lines and affecting doubled Pollard vocals. This song feels both isolating and wholly communal simultaneously. 

Roll Me To Heaven- 3 A rather drab tom pounder of a song takes us through a short but meandering first section before breaking through the clouds and into some sort of heavenly field of view, and back again. A spaced out stoner series of vignettes recalling the feel of a How Do You Spell Heaven song that never was. 

In Calculous Stratagem- 5 Short, almost to be missed, but a thing of beauty. This has a way of catching your attention upon first listen if tuned in. But each subsequent listen drives its allure deeper until you realize you've fallen in love with this new GBV gem with traces of REM magic. Perhaps the most oddly singable song title, this song has the ability to wrap its arms around you if only for a brief boozy 2 minutes. 

Crash At Lake Placebo- 5 Teeters on the edge of sounding like a goofy folk song with its repetitive guitar line, Pollard singing in time with the infectious groove. Carried forth with an arresting minute long instrumental bridge in a surprising turn. Pollard comes back in as the band crescendos upward with double vocal tracked finesse to cement this one in your bones. 

Liquid Kid- 3 A prog affair that takes a while to get off the ground, stuttering along for a minute before kicking into standard mid-tempo rock... at 2 minutes the song shifts toward the building finale setting you up for more symphonic fist raising, accented with Gillard solo flairs, and Pollard hooks to lead us out. A bit of too little too late, but enough to keep you coming back.

Time Without Looking- 5 Absolutely fucking gorgeous. A scrapbook of memories if you should allow such a brief song to do so. With such an appropriate title, the guitar jangle and syrupy doubled vocals begs for you to flail for buried nostalgia and immediate reflection at just over a minute and a half. 

When Growing Was Simple- 4 After the previous reaffirming life track, we're left in the cold with a pensive "this is your life" snapshot for further contemplation. The toms echo coldly in the background as if a lone mic picked them up in an abandoned warehouse. A singular guitar lines carries this with chiming cacophony striking us back to attention, Pollard sounding somewhat frail with his vulnerable vocals pushed to the front. A haunting finish but with and underlying feeling of hope.