THE CLUB IS OPEN... An Introduction

WELCOME to An Earful 'O Wax, the Guided by Voices/Robert Pollard; Song Documentation Database. Here, I attempt to provide a write-up accompanied by a numerical review (for what it's worth) of every song written, performed, or related to one of rock's most prolific songwriters; Robert Pollard.

If you have found yourself on this site, you probably know a bit of the story and history of the Dayton, OH band. If not, welcome! May this be your newest haven for a crash-course in the subject, and hopefully this can aid in your quest for the perfect mix tape.

This idea to delve into this project came to be in early 2012 while talking with a friend about the intricacies of the myriad of Guided by Voices/Robert Pollard LPs, EPs, side-projects, box-sets, 7'' singles, official bootlegs, and compilation tracks. I know as a true GBV fanatic, this conversation happens often. So I decided it was time to make my madness somewhat concrete!

The original sole purpose came about when I decided to try to log a rating to some of the more obscure Pollard related songs in my library for my own reference. How could I forget how good "I Am Decided" was off the top of my head? How was it that the closer, "Blue Shadow," off Pollard's side-project Keene Brothers' LP escaped my memory when thinking about the breadth of the catalog? Official documentation began to accumulate over a few months, and only grew from there. Once the wheels started turning, I found it increasingly difficult to operate the brakes. The determination to review every Robert Pollard related song was in full swing, scribbled in notebooks and sporadically typed out.

What presents itself on this site is just that; my quest to track down, consume (multiple times), and review (if only briefly), every song that came out of Dayton, OH's pop-psych mastermind, Robert Pollard. It's been a rough and bumpy road over many beers, research, and late night phone calls to friends on the matter.


SO, how do you read this and what is it? 
First off, every Robert Pollard related band/solo outing/side-project is divided into headers at the top of the page for quick reference.

The set-up of the free blogger.com space does not provide for ample scroll-down-and-enjoy reading. I encourage all to click on the links above to track down each LP, EP, 7", and compilation to find said song, or to simply browse the nature of each beast.

Also, each LP is accompanied by a brief to somewhat-extended introduction into the release, garnished with facts and opinions. Treat them  as a short review. Treat them as garbage. Do as you will.

What is included?
Any and all Robert Pollard related material is included for mention and review on this site. That is, every Guided by Voices, Pollard solo outing, Pollard solo collaborations, or side-project. Several side-project bands are listed above in the same tab due to restrictions here, not importance, or lack thereof.

There are still plenty of off-shoots of the Pollard/GBV family tree; Tobin Sprout solo material, Doug Gillard solo LPs, Death of Samantha, Cobra Verde, fig. 4, Terrifying Experience, etc. While many of those releases are definitely worth tracking down, (especially Tobin Sprout's frequent and brilliant outings) I have not obtained all at this time.

Also, not EVERY single record is listed on this site. Some singles and box sets simply contained songs that had previously been released. I included each record, in which each song made its earliest appearance. If you'd like a complete discography of everything GBV related, check HERE.

In addition, there are a plethora of bootleg releases with alternate titles to track that were eventually released on the Suitcase box-sets. Also, there are seemingly endless unreleased instrumental outtakes, alternate bootleg takes, internet released demos, and unreleased live cover songs that have not been included. In time, they might see the light of day. Such is the case with Pollard's TWO "comedy" LPs of spoken word, Relaxation of the Asshole and Meet the King: Asshole 2. I've got 'em, just don't know where they fit in this puzzle, but maybe one day.

Additionally, as long as I breathe and maintain functional hearing, new releases will continue to be updated in the future. Please check back.


In addition, THE RATING SYSTEM:
The ratings assigned numerically differs, in context, for each band.

It should go without saying, but a Guided by Voices perfect song rating does not always reflect the same as, say, a great Circus Devils song, decent Acid Ranch, etc. Two different recipes, two different results.

Also, it's a 1 to 5 system. Don't have a stroke that something didn't get 10.


And finally, LET IT BE KNOWN!:
It should go without saying that I am a fan. Not to dive too deep into the sappy end of the pool, Robert Pollard has been an even more enormous influence on me than I can really every say. Who else would do such an arguably stupid thing if not a fan? Nevertheless, what lies ahead may offend, enlighten, educate and shock some as I have given reviews to songs that some hold deep in the ribcage; wedding songs, the break-up tune, the perfect song for a funeral, your favorite drinking singalong melody, etc. So please know that every bad review still comes from a place that still gives even the slightest wink of admiration, and I mean no offense to the fellow listener in the following reviews of everything, and encourage an open discussion about said topics. Such is the way of the world, and shouldn't need mentioning. But it bares repeating when dealing with something as sacred to so many.

May Pollard continue to write, record, release. The army of the shambolic have spoken and, sorry mainstream press, he does NOT need an editor. What we want is what we get, and so forth.  And for the casual, or beginner, may this be both a guide and valuable lesson.  As Pollard has said, he relies on his Four "P's"; pop, punk, psych, and prog (which will be referenced throughout the site), in his song writing. May the best of those styles continue to rain down, for better or worse. One man's "Gold Star For Robot Boy" is another man's "I Can't Freeze Anymore" and vice versa. But hopefully you get the picture.  Read on, enjoy, and detest if you must. But remember, "Life is short, GBV is long."*





Additional thanks to the project goes to the following:  Jeff at Guided by Voices Database (www.gbvdb.com), for his his helpful correspondence and for his stellar website of meticulous fanboy info. Kevin Oliver, for guiding me through a cerebral discussion of Suitcase 2 and its inconsistencies back in the day. Fid, for his enthusiasm, tri-state brotherly support, and providing me with a couple of hard-to-find GBV releases on loan while I was dead broke. Christopher Thomas Brown for talking GBV with me at length and for kind of kick starting this whole idea. And to K. Gogan, my best friend for encouraging me to finish and for helping edit a portion of this mess.

*- gbv

**all photos taken from the fabulous world of google search. If you have a problem with a photo being up here, say the word and I'll take it down. I honestly don't know how to credit you!

***background collage by Robert Pollard, entitled "Brought To You by Real Nice Scientist" 

Thick Rich and Delicious (2025)

 Thick Rich and Delicious 

(2025, Guided by Voices Inc.) 

In the press blurb for this record, Pollard describes himself as a "student of hooks," always in pursuit of "that perfect combination of a lyric and a chord pattern that gives you that chill up the back of your spine." It's as if this very byline was scrolled on a chalkboard as Pollard hammered out the demos. 

After bowing out gracefully from playing live in late 2024, Guided by Voices was back with their 2nd LP of 2025 after a mild panic. Brief rumors of another GBV breakup were quickly quelled with the announcement of a new record on Bob's Birthday: Halloween. 

The record is the first since Welshpool Frillies to get the band back together live in studio. Somewhat shockingly upon liner note inspection, absent in the guitar mix is Bobby Bare Jr., with only Gillard, March, and Shue handling the basic tracks. Instead, Bare shows up in vocal only support department, doubling Bob through a good chunk of the record from what I can tell (or hope is true). Together, there's moments of unabashed triumph, melancholy, and downright angelic harmonies coming out of the vocal department. 

Whether the title came before or after, it is a true embodiment of the entire spirit of the record without much hyperbole. Travis Harrison, always bringing quality while sometimes changing things up, somehow elevates an already exalted game. 

SIDE A:

Babies and Gentlemen- 4 The first of 3 tasty instrumentals on the LP. Perfectly sets the tone for what's to come. Bold comparisons be demand, after a few listens to these layered instrumentals, one starts to pick up on some Smile Brian Wilson vibes with its manic symphonic layering. Whatever manipulations and orchestrations Gillard, Harrison, and crew worked out kicks things off with a statement that's all around catchy, monumental, psychedelic!

(You Can't Go Back) To Oxford Talawanda- 5 A song that feels so effortlessly timeless, so GBV of the past, but incredibly fresh with a string of new melodic melancholic hooks. It's a pop song that feels like the chorus literally bounces from its anthemic simplicity. Lines like "Alice told you it's forever" and "Celebration annual..." add to this song's underlying haunting quality. Nostalgia be damned. 

Phantasmagoric Upstarts- 4 A taut pop song that breathes as it goes along, but is ever begging to explode. And thus it does with the "goddamn-that's-a -great-partness" of  "And you're not real!" declarations from Bob. One where you may hear it and say, "this is good," and then listen again and pull the goddamn car over to the side of the road to maintain composure. Stellar production on this. It sounds massive even before the song flips the switch for massive! 

Lucy's World- 5 Possibly one of Pollard's best penned tunes since "Best of Jill Hives"? Starts off with some spitfire before pulling back into otherworldly sublime pop territory. A song that feels heartbreaking, uplifting, psychedelic all at the same time. The Bobby Bare/Pollard vocal combination on this is a crushing all-timer in the vocal arena of the GBV catalog, and I can't thank this band enough for making this song. Excuse me while I wipe away this tear. 

Our Man Syracuse- 5 Oh damn, what have they gone and done now? Casually dropping this absolute sly banger of a saccharine pop track after the life altering "Lucy's World," that's what. Lazily lumbers along at first before breaking out into those creamy as all hell Bare/Pollard double vocal moments. A song where the verse is on an equal playing field with the chorus for the win. 

Mother John- 3 Pollard lets the freak flag fly on this one, huh? It's not quite the genius of "Razor Bug" but it comes close while also actually being an incredibly cool psych track. Easy reference points be damned, but shades of "Tomorrow Never Knows" levels of hypnotism settle in on repeated listens (also does not sounds like said song). Why we are speaking of genitals in breakfast cereals at this point, I do no know, but I am here for it! 

Dance of the Picnic Ants- 3 With a title referencing the lyrics of "Mother John," we are presented with the second instrumental of the LP. A tribal rock and roll jig of sorts that rules! Feels plucked from the late 60s but amplified through the Gillard/Harrison grinder. 

Xeno Urban- 4  The first that felt like a grower for me on the record, GBV closing out a victory lap of Side A with a more subdued midtempo number. For some reason, feels to like something that might be on a solo Pollard LP. The song is absolutely propelled by the Pollard on acoustic minute long addition to the end. It gives the song its deserved haunting send off. 

SIDE B:

A Tribute To Beatle Bob- 5 Written for/about St. Louis music legend (somewhat controversially from the stories), known as Beatle Bob. In the GBV sphere, he introduced the band on stage at their "final" show on The Electrifying Conclusion tour in 2004. An absolute blast of sun from this one, with a drop of that patented longing and sadness underlying all the great GBV songs. Hook upon hook, finished off with some high flying, unmatched double vocal moments! 

Replay- 4 About as post punk as GBV gets on the record. A percussive, bass warbled song that builds and builds into a near joyous crescendo before falling off. Love the drum break bridge in the middle before the song picks back up with its haphazard guitar solo and eventual momentous finale! 

Siren- 4 A moody rework of the Circus Devils' track off Capsized!. Here the full band treatment fits like a glove. Another one that feels cut from the post punk cloth. Bombastic band work with heavenly Pollard vocals is always the code for Go!

The Lighthouse Resurrection- 5 Holy mother of God! Was not expecting this. When I put it on, the title did not click on a track that my wife and I will randomly sing to each other over the last 20 years. I should have a tattoo that says "Jimmy was a fly" somewhere tasteful at this point.  But nostalgic bias aside, this is absolutely amazing. Maybe it hits harder for the GBV heads hearing it, but the tom heavy first half over the syrupy guitar swirl, anchored by Shue's thundering bass.... and then the vocals. As if the bar hadn't been set high, this might be my favorite pairing on the record. Pollard's never sounded better. It's inspiring, dreamlike at times, and beautiful. Brilliant rework. Cocoon! 

A. Glum Swoboda- 4 A slow grimy building track that is smoothed over by more A+ vocals from Pollard and Bare. Love the backups and all around hooks on this. The moody verses twist along until the song eventually explodes into light with its soaring vocal harmonies that make themselves more known with each listen. One of the more patient tracks on the record, it's one that pays off.

Ozark Ivanhoe- 3 Of the instrumentals, this feels the least fleshed out. Maybe it's the least decorated with cool studio moments like the other 2? It feels like pump-up music, before the final send off. A crucial setup to what I consider possibly the best GBV closing track of any LP. 

Captain Kangaroo Won The War- 5 Incredible barebones, shoegazey opening complete with gorgeous vocals hovering in the mix. Then the band kicks in, and it gets even better. Perfect in its simplicity. Locked in, patiently pushing forward. The "number one" parts knocked me back immediately. Then, to have it all explode into the all too relevant in current times finale; there's sadness in it and also hope, and it kills me this will never be played live because what moment this could have been, Proud Brothers and Sisters. 

Nowhere To Go But Up (2023)

 Nowhere To Go But Up

(2023, Guided by Voices Inc.)

Through the years, Pollard has dropped hints and anecdotes about his writing styles, inspirations, and sometimes personal challenges to help him achieve new songs/ideas (collecting bits of misheard words from conversations and TV shows to construct many lyrics on Blazing Gentlemen comes to mind) . For Nowhere to Go But Up, Pollard announced that GBV had successfully recorded an LP devoid of choruses! A pretty bold announcement for a band cementing their legacy with some of the catchiest earworms and barbed aural hooks put to rock critic paper, generally in chorus form.

However, from the start, it's evident that Pollard's still the master of pulling hooks from thin air, and that some of the best GBV moments littered about their vast landscape come during verses, bridges, and song snippets that never com achieve any sort of traditional song structure in the first place. Writing 5000 songs will do that to you.

  Is the record really devoid of choruses? There's one or 2 in there, one could argue. Still, Pollard and the band build a cycle of songs that rest heavily on mood; a melancholy mix of triumph and pain. It's a record that feels both burdened by the regrets of life, and exalted by the joys of living. There's an underlying victory lap within the grooves, perhaps propelled by the bells of the title track that set the stage for this grandiose, often bold album. It's one that manages as one of the strongest in their early 2020's run of LPs. 

SIDE A:

The Race Is On, The King Is Dead- 5  Starting with a declaration, guitar and bells chime out before the band cannonballs in. From go, you can tell Travis Harrison was locked in for this one. Massive sounding! And in the fashion of this record, this song is wonderfully triumphant but also has a massively palpable melancholy attached. It's an epic blast; a sustained blare that seems to keep trying to out top itself. Pollard is top notch here in the vocal department. If this is what you get in an LP without choruses, sign me up! 

Puncher's Parade- 5 A song, that if you wish to let it in with guard down, can hang heavy on the heartstrings and you're not even sure for what exactly. A midtempo, delectably repetitive distorted guitar jangle holds this reflective sounding track together. Once again, the whole song sounds massive in the speakers, even when the band's subdued. Pollard has honey and conviction in the throat. A song that evokes timelessness. 

Local Master Airplane- 4 At just over 2 minutes, this feels like the pop nugget that bridges the opening tracks to what feels like loosely connected sister tracks in "How Did He..." and "Stabbing..." Fairly straightforward power pop with some grit. The bridge (?) where Pollard sings about "liquid business" is a brilliant change up. The upwardly shooting guitar lead outs at the end!.. Good LORD! 

How Did He Get Up There?- 5 Opens in this wonderfully hooky bog of sadness and reflection. From the slower trudge to the horn blasts that accent the band, this song comes through almost as a distortion soaked memory.... hovering high above me. Speaking of repetitive, here I go again but damn Pollard's vocals push this over the top into absolutely essential territory. Love the conceptual instrumental build at the end by the band, as if preparing to take flight. Incredibly cool move! Yes, smash that fucking piano too!

Stabbing At Fractions- 5 Can't describe it, but if you want to win over my heart this is one way to start a song! Thanks for jumping into the pocket immediately, and with some thunder behind it!  Oh, and it's immediately catchy. And it builds and builds and builds. The vocals, you ask? Oh yeah, angels came down and anointed his throat for this record, I'm starting to believe.  Another one where by the end, if you're not singing the "extenuating" back ups after a few listens I don't know how to help you get through the rest of your life. 

Side B:

Love Set- 3 After an A side that was about as perfect a run as the band has started with on record, it immediately opens with a massive prog rock dream that rises in the speakers for nearly a minute a half. The song kicks in, finding the band settling into the proggiest territory yet on the record. A song that sounds truly born out of the Pollard cut and paste demoing method. A song that grew on me as I continue to find nuance in these parts. 

We're Going the Wrong Way- 3 Has a bit of that Wire vibe Bob likes to pull from. A darker, prickly post punk song with pop moments and heavenly vocals. Shoutout to Mark Shue for the perfectly simple bass accompaniment on this that really gives the song its feel. 

Jack of Leg- 4   A song that comes crashing out of the gate into a guitar heavy grind, complete with elevated psych vibes thanks to Pollard sounding like he time traveled from the  Do the Collapse sessions. A multifaceted track, constructed rock opera style from various Pollaradian pieces. And as the "and we just smiled" part breaks out at exactly the mid point, you think you're about to hear the greatest pop song ever!... and then it switches gears into trumpet backed tribal grandiose finale.  Additionally, hearing this live and on the live official bootleg Goodnight El Dorado made this really click!  

For the Home- 5 Cryptically, this one begins with seemingly innocuous guitar noodling that goes on for far too long. At first, it seems arbitrary but after about 3 listens I pretty much had those parts melted into my brain. Anyone who says shorten it, be dammed! Perfectly segues into its infectious see-saw guitar backed stomp. 10 outta 10 in the vocal department. A lead-the-charge anthem that wears its heart on its sleeve. Love the psych disintegration of the song as it fades into the void. 

Cruel For Rats- 3 The most snarled the band has sounded on the record. A darker mid-tempo song that again sounds like it's exploding from your speakers. A song that would have absolutely killed lived but was sadly never performed. Reminds me of Zeppelin Over China era stuff. 

Song and Dance- 3 Pollard absolutely carries the opening for over a minute and half, the guitars supporting in their own vulnerable sounding way. The song eventually breaks into the most wonderfully druggy the band has sounded, as if that was something I didn't realize I was missing. The song gets an injection and leads out with a brief pop flourish before Gillard and Bare perform some guitar heroics. The slide whistle choir leading us out of this absolute mind trip of a record (if you allow it to be, and you should!), is the bow on top. 

Strut of Kings (2024)

 Strut Of Kings

(2024, Guided by Voices Inc.) 

Guided by Voices returned in the middle of 2024 with what proved to be their lone LP of the year. It was the first time since 2017 that the calendar year saw only a lone LPs worth of songs from camp Guided by Voices. It also proved to be the last LP that they would tour on, as the band played their last live performance on 10/26/24 in Dallas, TX to no preconceived "final show" fanfare. 

Strut of Kings is once again leaner when it comes to total tracks, but proves an expansive mix calling back some of the moodier tracks of Crystal Nuns Cathedral melded with the prog leanings Pollard has leaned into with his tightest and most road polished group to date. It's a record of many moods, right out of the gate working on world building with "Show Me the Castle." As we've come to take for granted, the record is scattered with pop greatness, along with some tracks mid record that really show a band molding some wild Pollard ideas into sonic glory.

Sometimes self-reflective, it also has moments that feel autobiographical, especially the epic "Bit of a Crunch." With this comes an added weight to the record I've come to enjoy pulling a seat up next to with each listen. It's a record that drives home the old mantra, "Life is short, GBV is long."  

SIDE A:

Show Me the Castle- 4  Expansive guitar spills out as if coming over the horizon, with heartbeat tom thumps to lead us through Pollard's immaculately doubled vocals. Lyrically, this feels like an allegory on the current state of the world, wrapped in top notch prog rock lyrics. After being hypnotized, the song shifts gears into an explosive rock stomp, Gillard running away with angular guitar leads that leave smoke trails. The band leads us out with a third section that somehow feels more hooky with every repeated listen. 

Dear Onion- 5 It seemed inevitable that the Beatles White Album loving title would be fantastic, and goddamn it is! The song is incredible in its stripped down simplicity. Fuzzed out, direct, but also stuck in a haze of weed smoke. This is if hotboxing was a song, let's be real. The way Pollard sings "to everything under the sun" 6 different but equally moving 60s inspired ways, backed with Shue's woozy Nuggets sounding basslines, is bleary eyed perfection in a song. 

This Will Go On- 4 Acoustic opening with eerily familiar, vintage Pollardian home-recording and open room sounding vocals but with a bigger feel. An incredibly haunting track with an underlying yearning and beauty that feels simple, but is a masterclass in songwriting. 

Fictional Environment Dream- 4  If Forever Since Breakfast is considered Pollard doing fairly straight REM, then this song feels like a return to REM in a more 90s vein. Incredibly hooky earworm, backed with airy Gillard orchestration. Pollard's vocal mix or delivery feels less polished than the previous takes on the record giving this song a bit of vulnerability.

Olympus Cock In Radiana- 3 Now that's a hell of a song title! The first in the run of songs on the LP that might challenge the average listener. Feels like an idea left to the band to magnify. Mostly feels pretty barebones, held together by Kevin March's auxiliary percussion heavy drumming. Eventually the band builds into a massive crescendo before heading back into the string punctuated return to the chugging verses. Recommended with headphones to capture of the triumphant symphonic doom of the second half! 

Leaving Umbrella- 4 Speaking of headphones and symphonic doom, this track feels like walking through a smoking wasteland shielding your eyes from whatever sun is poking through said smoke while someone wails a nearly indecipherable, but hauntingly beautiful melody in your ears. Might be contender for coolest song on the record. 

SIDE B:

Cavemen Running Naked- 3 One of the singles released for the record, this is about as simplistic as it gets, and revels in its no-bullshit structure. There are soaring hooks all over this fuzzed out thump, but they rarely come back to repeat. It's the kind of song where repeated listens make you recall with each new spin.  Pollard's lazier deliver on the verses behind the bands bombastic stomp is intoxicating.

Timing Voice- 2  For lack of better words, this is just one of those songs that isn't bad, but rarely sticks with me. A 3 and half minute straightforward one that rarely changes course and just suffers from the missing ingredient factor. 

Bit of a Crunch- 5 Ho-boy did this song get me. This feels like one of Pollard's most honest and pensive songs soaked with incredibly lyrical imagery. It feels like a message from a man reflecting, knowing that time is limited. A "bit of a crunch" feels like its referencing his career, his time on this earth, his call for some wider acceptance of this incredible body of work. Whatever the case, this is one of Pollard's longform bests. Not going to say how many times, but lord knows I've had a tissue out for this one. 

Serene King- 5 After that moving dandy, we head into the first single released for this LP. Standing proud on its "traditional" choral campfire/cheerleader hook of "everywhere I go, people wanna know...,"  this is an unabashedly catchy triumph. When Pollard belts out "Oh my name is serene!" its an instant aural dopamine kick. And like so many of Pollard's song, there's some hurt in there somewhere that weaves a deeper beauty through a song that could easily just be a viewed as a killer rock song. 

Bicycle Garden- 3 After 2 moving songs, "Bicycle Garden" leads out the record on a lighter note. A bouncier affair that lyrical feels its plucked from the 60s. There's a sameness that runs throughout the song that doesn't always callout for a repeat. Sonically, the guitars trading off lines in the speakers, along with the symphonic swell to lead us out, is a production revelry. 

Universe Room (2025)

 Universe Room 

(2025, Guided by Voices Inc.)

Following Strut of Kings, their lone LP of 2024, GBV return with their first of 2025. This is the first LP since Warp and Woof  that one can arguably refer to as "the weird one." Like Warp and Woof, the LP is jammed with varying ideas, recording qualities, and overall ideas. It's the first time Bob's taken the GBV moniker, and proceeded to smash songs of all different ilks up against one another and drop it in the bucket. Unlike Warp and Woof, the ideas go even farther out there. For the first time in a bit, the band diverges from much of the prog-rock oriented detours they've been playing around with over the years. 

Not to say Universe Room isn't full of prog moments. Hell, the whole LP might be kind of a prog mishmash. It's the first LP in a while that is released as more of the "grower" and less of the "shower." Still, because it's from the bottomless well of ideas of Pollard and the gang, it rewards repeated listens. 

Like the Cub Scout Bowling Pins record Clang Clang Ho, each track is recorded and performed solely by different members of the band, with Pollard finishing it off in the vocal department, adding to the records unpredictability. 

SIDE A: 

Driving Time- 3 Pollard leads us in over clunky acoustic guitar backed by an industrial orchestra. We're finally propelled into a world full of prickly keyboard accompaniment and angular drum fills. A perfect example of a Pollard song that features no immediate memorable hook but find myself going around with "Driving Time" consistently lodged firmly in brain. 

I Couldn't See the Light-4  Perhaps it's the title, but this song opens up with that GBV repetitive melancholic guitar strum that hits the sweet spot. Eventually, it breaks apart into prog territory before the tempo picks it up, eventually spilling into brief moments of pop normalcy. When Pollard declares "I couldn't see the light, The sun was in my eyes!," it feels like the final icing on the cake moment, backed by strings; the moment hangs there, a few second final pay off wrapping up the entire multifaceted buildup that is all that came before it.  

I Will Be a Monk- 3 A mid-tempo chugger with blistering guitar leads that pop in and out over the songs moody fades and unwieldy crescendos. Short and sweeter with every listen, a stone-cold simplistic perfect hook.

The Great Man- 4 The first of the internet only released singles, "The Great Man" is punctuated by Bernard Hermann-esque "Psycho" orchestration. It's a song of unease, some dread, and what seems like an underlying defiance. Like the LP, this one isn't immediate until you realize its worked its way in deeper than you could've imagined at first. 

Clearly Aware- 3 A sludgy plod that feels like a one-take track that grows on you the more you revisit. An epic doom ride; real rickety rainy day stuff. 

Dawn Believes- 4 A beautiful longing GBV track inspired by the dish soap! As in literally, Pollard said he was looking at dish soap and then wrote this song. I appreciate its off-the-cuffness here, throwing it back to early GBV style meets "Doughnut for a Snowman" product cross referencing in one gorgeous track. 

Play Shadows- 3 An introduction point for people wondering what some of the more listenable Circus Devils material might sound like? A title that encompass its distorted dreamlike state, careening off into the point of leaving you floating in fuzz. 

Fly Religion- 2 A fairly straight forward midtempo rock song that I've failed to connect with. I like its careening patch work of ideas, the hooks that are trying to latch on to my brain, but hasn't fully landed for me yet

SIDE B: 

The Well Known Soldier- 4 I love this kind of GBV stuff. Instrumental track. Pollard on acoustic guitar, playing what I can assume is a spontaneous recording, or at least a quick take of a couple ideas. Absolutely beautiful, background noise and all, and really showcases his incredible playing style. 

Hers Purple- 3 A piano backed hard rocker that gives this one an odd circus (Sgt. Pepper's?) vibe. Love the out of nowhere/tune guitar lead jabbing in. Blink and you might miss it. 

Independent Animal- 4 Pollard dropping in with some absolute pop goodness that sounds like it was plucked from the outtakes of Not In My Airforce!!!  A sunny, catchy as hell minute with only about 30 seconds of killer Pollard vocals. Damn, that was refreshing! 

19th Man To Fly An Airplane- 3 Welcome to this record's "Sons of the Beard." Starting with 30 seconds of increasingly loudening engine noise before abruptly cutting into an acoustic ballad is a bold move, I must say. And then to turn this into a prog sci-fi, nightmarish march of sorts (militant guitar flourishes and all)... Yes, going into bolder territory still! Eventually the band delivers a straight snippet of a promising rock song before cutting to 30 more seconds of engine noise. A big swing whirlwind! 

Elfin Flower With Knees- 2 Perhaps due to title, this does feel like a sonic detour to Pollard's vision of middle earth, something I'm only safely assuming he's had visions about. One that has not connected with me fully. 

FranCisco- 3 Absolutely wild stuff here. Flat out hated this upon first listen. Not a chance... and well wouldn't you know it, I kind of like this insane detour to haunted Spain Pollard thought we'd need as he croons "FranCisco" repeatedly.  

Aluminum Stingray Girl- 4 Perhaps it was the flamenco fumes left behind from its predecessor, but it was listening to this song a few times over that the record finally clicked as a whole for me. As much as I've enjoyed all of these GBV/Harrison LPs, I always say I'd welcome another weird one in the batch. Well, finally I thought, it's here! This is the weird one. Here is a song where I really appreciate its fuck it attitude from the guitar, to the floating Pollard doubled vocals.

Aesop Dreamed of Lions- 3 One of the most ambitious songs of the record comes near the end, a midtempo minor prog rocker that's perfectly fine, but feels like I might be missing something here. Love the instrumental lead out on this. 

Everybody's a Star- 4 Has the feel of someone singing alone on a stage, spotlight beaming down as the guitars pop and crackle out from the corners of the darkened stage. A fantastic, fantastical song that also feels incredibly earnest. I'm glad Pollard couldn't think of a better way to close this record out, because this was the right choice.

Welshpool Frillies (2023)

 Welshpool Frillies 

(2023, Guided by Voices Inc.)

Guided by Voices... IN STUDIO! During the incredible output since 2016, many of GBV's records have been recorded in various studios, patched together by recording engineer (and 6th member), Travis Harrison. Here, after many years on the road together, GBV finally get back into the studio as a band (Pollard's vocals recorded separately, as usual), and crank out an organic, and at times bombastic (other times hints of olden-days-experimental) LP.  It's an LP that's meant to be played loud with a Side A that I would argue is one of the strongest of this prolific iteration of Guided by Voices. A refreshing record that carries some welcomed rawness. 

SIDE A:

Meet the Star- 5   The first single released for the record wastes no time making it known the band was together in the room for this one. They're locked in. Shue's bass is snarling, the guitars crunch behind Pollard's doubled smooth-as-silk vocals.  The chorus opens up behind orchestration, and it's as if light has been let in. Some of the tight-wound pressure of the verse momentarily released before jumping back into the infectious pummel of said verse. Pollard's back in heavenly form on the choruses. A first time listen winner!

Cruiser's Cross- 5 The grind of the celebratory opener gives way to this lighter, but no-less potent indie rocker carried by its simplistic, moving repetitive guitar leads. Familiar mid-tempo territory that Pollard and band have lived in most comfortably during this iteration of the group, but one that holds court above most in this wheelhouse. A melancholic undercurrent flows beneath some delicious melodies delivered with an ease. Evokes a timelessness, as Pollard so often does. 

Romeo Surgeon- 5 Pollard is never afraid to bust out a bit of scuzzier rock tune, to some varying results. This one hits you out of the gate with its fuck-it attitude, but those angular guitar jabs cutting through the locked in rhythm section. And cut they do!...giving this some post-punk lean. Everything from the vocal effect to the melodies hit. That "message of love" lead-out on the bridge is a full-on psych feast. A song that builds in intensity without you realizing it. Stand up job, Travis Harrison! 

Chain Dance- 4 Throwing back to some scrappier ass GBV, "Chain Dance" recalls a bit of early 90s EP vibes. A clunkier beauty elevated with its organ drawls and unreliable tambourine. One could argue a throw away track here, but this carries a deeper weight beneath it in melody than may first hit the ear. 

Why Won't You Kiss Me?- 5 A track that sounds ricketier than some of its opening predecessors, but it fits like a glove. Pollard busts out this infectious chorus that sneaks the hell up on you with its joyous vocal belting, and sits in your brain consistently tapping you on the prefrontal cortex reminding you to put this one back on again. 

Animal Concentrate- 4 Tom pounding verses chill out for a lighter bomping prechorus into some declarative choruses of longing. Actually, this song has a good amount of parts, and what could possibly be a tonal nightmare in lesser hands flows in from start to finish It's one of those songs that's insanely catchy but you can't quite pinpoint down the exact spots for recommendation (in every GBV fanatics fantasy world where they are asked about suggestions that never happen).

Cats On Heat- 4 A quick guitar saturating crunch with a strong lone Pollard vocal track. Like many of the great numbers, the hooks are sprinkled about in the phrasing. Gillard's solo in this- delivered with a downright scorched-earth mentality. 

Mother Mirth- 5 A very barebones acoustic track, again sounding as if from the 90s EP days. Another melancholic ride that feels both hopeful and painful on equal playing fields. "On the morning of the aftermath..." repeated parts that close it out seal the deal this as one home run of a Side A!

SIDE B:

Don't Blow Your Dream Job- 3 After a run of self-proclaimed prog-heavy LPs from camp GBV prior to "Welshpool...", this is about as prog heavy as the record gets. A song constructed over several sections that tonally fit, but make for a track that I often listen to in anticipation of hearing specific parts still waiting for it to all fall into place in my head. Pollard sounds like he's sent back to his TVT studio sounding days with honey and conviction in voice. 

Awake Man- 4 The band deals the listener a heavy chug backed with the rock-solid double vocals Pollard consistently delivers on this record. The breezy end portion of the song rightfully propels this one upward. AWAKE!

Rust Belt Boogie- 3  The longest track of the record for what it's worth. The first minute showcases some incredible interplay between Bare Jr and Gillard, with Shue's base snaking in and out of the melee. This feels like a live performance build up into a song finally come to record. When Pollard enters at a minute and half, it's as if he's bellowing from the mountaintops over the surge of the band, the dudes who've  had their foot on the gas since go. 

Seedling- 3 The first online single released by the band in conjunction with the announcement of the LP. Springtime jangled indie rock that eventually expands into something much larger. One of the biggest GBV has sounded on record; an almost hymnlike song. 

Better Odds- 3 A late LP sleeper hit. Practically a midtempo ballad; equally celebratory and haunting. A rainy day anthem. 

Radioactive Pigeons-4  Pollard dropping more late LP nuggets, laying down an almost free flowing vocal melody with utter confidence and saccharine. Nothing flashy, just a master laying down a line songwriters would kill to dream up, but it's just another day at the office.

Welshpool Frillies- 3  A mini epic to lead out the record in prog cloak. You can practically see the goddamn fog show listening to this epic bridge before Pollard kicks back in, reminding us this is a GBV record before the appropriate band freak/fade out live in studio! 

Blasphemy (2025)

 Blasphemy 

(2025, Splendid Research Records)

After releasing the 8 song, 17 minute The Grand Rapids EP in 2024, it seemed as if Bob and company may have released another one and done project. Only time could tell. Comparisons to the loose cacophony of Howling Wolf Orchestra or Nightwalker were more on par in comparison than ESP Ohio or Mars Classroom. 

Then, by miracle, along came Rip Van Winkle with their first full-length LP! If The Grand Rapids EP was their Meat Puppets In A Car EP, then this might have jumped all the way to being their Meat Puppets II. 

Once again, Pollard and the members of Joseph Airport (which includes such as liner notes legends as Joe Patterson), return with a self-described "performance" record. One could argue, it's a concept. Others could say it makes no sense. 

In place of a lyrics sheet, this baby comes with a band proclaimed script! Songs are held together with theatrical interludes or what feel like the delivery of non-sequitur dialogue. And unlike its 8 song predecessor, this record is a more fully realized band record, calling back to some early GBV highlights with the feel of 4 people hammering out the songs and hitting record. It's refreshing, and a welcomed addition to the catalog. 

SIDE A:

On Behalf Of The Morning Announcement Staff- 1 Kicking off this listenable screenplay, we get some ambient radio waves! Dig it. Not a song so extremely excited to hear...

Shit-heel Man- 4  ... that Rip Van Winkle has been practicing! I don't want to say anyone's soul was sold at the crossroads, but I'm also not counting it out. Immediately, compared to the debut, you can hear the difference in delivery and intent. In fact, this could have had a place at the GBV table somewhere along the way had it been worked earlier. The mid production really works in the songs favor, adding to its basement sheen. 

Pool Hall Tactics-3  "Kaiser Prose" plays in the background of what sounds like a social gathering set up. When it kicks in, the band delivers something that sounds like it stepped off the grooves of The Harold Pig Memorial  to say fuck you. Tip of the cap the the bold drum solo in the middle of this distorted plod that totally works. 

St. George- 1 Sounds like "Down the Island" off GBV's Warp and Woof before going off on its own path. At under a minute, not much to speak of in this brief idea that is now preserved. 

Six Black Horses- 3 Is it the horse imagery, but this feels like it could be cut from some Neil Young cloth. Then it dives into grungier Crazy Horse territory... Or Circus Devils? Rad dissonant ending that could have been held out longer for added Sonic Youthian moments. 

Union- 3 Bob Pollard sings a sing-along, folky tune with an alien or Gizmo from the holiday classic Gremlins. Not a bad song, not a great song. Conceptually more interesting than the song itself? 

A Mirror Off- 4 Absolutely love the repetitive bassline on this, anchoring down the slinking guitar warble. Indulgent mix of garage rock and scrappy psychedelia inviting you to fall into. Possibly the strongest track on the record! 

SIDE B:

By the Water- 4 Yeah, 2025 was my "By the Water" summer. Sorry to the rest of society for not getting down with this obscure, yet essential jam. 60% within 60 miles? Educational too! The duel guitar call and response approach is incredible over a song so stupidly infectious it hurts. 

Quiver and Quill- 4 Opens with what sounds like a fractured table read before kicking into a jangled, tasty indie tune. Pollard does some questionable scatting in the middle that I don't mind, but the song really rules!

Snake With Human Heads- 3 After the sound of more marching, Pollard greats us with an acoustic opening before its tonal guitar-chiming second half kicks in. Did not get this until the redeeming percussive last minute hits, an the ideas start to gel in some amalgamation over Pollard's cryptic imagery. 

Discussion Amongst Toads-2  For a brief moment, in between the song's confounding bookends, this may be some of the heaviest music Pollard has been a part of! Unfortunately, I wish this came together better as a whole. 

This Is My Thriller- 4  Incredible title in what sounds like Pollard taking another stab at making his "Being For the Benefit of Mr. Kite." A haunted organ driven waltz that wobbles as it goes along. Suddenly, the song stops and a we're subjected to a minute plus of piano noodling, and background conversation. With a little over a minute to go, the piano stops and we're escorted back into this haunted circus atmosphere. The piano juxtaposition is such an unnecessary and jarring move, I absolutely love the decision. 

Gangbusters- 3 A nervy acoustic driven track that sounds like eastern inspired psychedelia leading us out into a return to... 

On Behalf Of The Evening Announcement Staff- 1  More radio waves lead us out, practically identical to the first track. I may not understand this script, but sure as hell hope to see this acted out one day, whatever it is! 

The Grand Rapids EP (2024)

 The Grand Rapids EP

(2024, Splendid Research Records)

What's that? It's not that? It couldn't be that? It is that!  As the Fading Captain series continues to fade into the annals of time, so did some of Pollard's tendencies to spring back into action with his insatiable appetite to create more bands! At any given season, one could expect a new surprise moniker to pop up proclaiming Pollard's new band! However, as the solo LPs grew in stature, and Boston Spaceships made a swift and incredibly prolific statement before disbanding, and GBV eventually reunited into its most dizzying run yet, the side projects became a thing fans recalled rather than expected. The brief appearance of Cub Scout Bowling Pins in 2021 (featuring all members of the current GBV lineup), brought a welcomed refresher back to the mix for the Pollard heads eager to see where his creative channels continue to flow. 

Then, out of nowhere it appeared! Rip Van Winkle: the new project on Pollard's new record label, Splendid Research. Here, Bob teams up with close friends and creative Dayton allies Joseph Airport to form a no-wavey, impromptu sounding EP that haunting, sparse, and spontaneous. For fans of Acid Ranch and Howling Wolf Orchestra. 

The LP and CD were pressed to 1000 copies each.

SIDE A:

Prose Kaiser- 3 Instrumentally, feels plucked from the early 80s. There's a strong song here, and love the Sonic Youth-esque guitar interplay. The kind of song that you know would be awesome to see a band play in a warehouse setting. 

, 

He Did the Clock- 2 Getting acid flashbacks of the days of the Fading Captain Series for sure. The tryout tape for art school that got away and there's something in me (the "Razor Bug admiration part of Pollard's art?), that I admire. Love that Pollard still goes for it in these moments, groaning and all. 

-1- 1 I dig the songs absolutely almost nonexistent title for some reason.  That's about the only plus for me on this one. Big fan of the free jazz, Nation of Ulysses-esque trumpet stylings at the end though.

Images From a Dead Planet- 1 At nearly 4 minutes, this proves to the patience tester. Feels like Acid Ranch improvisational instrumental jams. 

SIDE B:

Storage- 3 A minute and a half acoustic number from Pollard. About the quality you might find one of the Eat 7''s. A fine number that's looking to fit in here, but sticks out like a welcomed bastard child!

No Crows For Valdez- 1 Pollard sings ring-a-ding-ding-ding over improvisational snare drumming and guitar plucking. 

Circle of One-2  Coming in at just over a minute, this sounds like the song playing in the head of a dying cowboy. Or so I'd like to imagine. I'm not even sure I'd LIKE to imagine that but here we are.  Scrappy percussion, some harmonica, offbeat drumming, out of tune guitars. 

The Metal Clips That Go Over-3 A scrappy, much welcomed tremolo soaked lead out in an avant reworking of "Baba O'Reilly"? Rip Van Winkle is here! 

Squeeze the Needle (2023)

 Squeeze the Needle

(2023, Guide by Voices Inc.)

Circus Devils died a planned death on 2/24/2017, the day their 14th and final LP Laughs Last was released. This ended the prolific, challenging, often demented run of art-damaged rock between Todd Tobias and Robert Pollard (let's not forget brother Tim Tobias' frequent contributions). 

Circus Devils always kept you guessing, but they were never boring (well, does Five count? Sorry, I like it now!). In a sea of Pollard solo LPs, random one-offs, and GBV reunions, Circus Devils were pretty much a sure bet for an annual record (sometimes 2 in a year!). It was Tobias' way to flesh out his manic studio ideas, while Pollard added his free flowing poetry and no-limits ideas loose over a volatile sea of sounds. 

But, lo and behold, just in time for Pollard's birthday (Halloween... a favorite release date for Circus Devils), came the seemingly out of nowhere reunion no one saw coming. Circus Devils' surprise record. Sonically, it picks up right where the group left off. That is, it's like nothing and everything they've done before. The record's a real grab bag of ideas with killer Tobias production as usual in the Circus Devils realm. 

Thank you Circus Devils for reminding us nothing stays dead. 

Wouldn't mind more of these!... 

SIDE A:

Honeymoon in Waynesville- 3 This song is the sonic equivalent of walking into a roadside bar off the highway, feet sticking to the beer soaked floors after being awake for well of 24 hours. A wobbly rocker that sounds like it was written and etched onto tape with minimal effort. Can't pinpoint the uncomfortability here, but I like it. 

Here We Are- 3 Percussive oddities abound as chants of "HERE WE ARE!" echo about. Industrial jazz for your next paranoia fueled cocktail party!

The Owl Presents...- 4 This one gently comes in sounding like an 80s Sonic Youth jangly interlude before building into a reserved track anchored by its bass groove and repetitive guitar hook. Eventually the song breaks down into Pollard driven tribal howls before coming back around to the beginning. 60s psychedelia meets 80s guitar based college rock. 

Getting Better- 5 Trudges out like a car trying to rev up before flatly (and sublimely!) clunking along with its staccato guitar jabs and perfect Pollard vocal prods. Manages a subtle hook in its chanting choruses. Love the upfront Pollard vocals in the subsequent verses. Mildly epic! 

Age of Transfusion- 5 Classic Circus Devils stuff here. Haunting piano with prickly guitar (and vocal sample?) ballad bolstered by absolute killer vocal takes by Pollard.  References Lifeguards' "Paradise is Not So Bad" off Waving At Astronauts. 

(I Am) a Happy Boy- 4 In a normal world, this could pass as breezy 90s indie jangle perfection. Thankfully, Tobias mucks it up with a bunch of unnecessary sounds scrapes and scraps while Pollard drops some dopey ass lyrics, babbling away with a vocal performance that I wouldn't change for the world. 

Strawberry Limousine- 3 Short and sweet, something that could've been off a mid 00s Tobias produced Pollard LP (possibly sans the "every German scientist" line, but also totally could've been in there too). 

Talking In Circles- 4 If Czech New Wave film was a song, this would be it. Eerie, and eerily comforting, and somehow jarring. Like waking up already hungover in a haunted tiki lounge with no semblance of time or logic. Hypnotic; funny if you need it to be, unsettling if you need that too. 

Street Toughs- 3 A Harold Pig Memorial outtake? A big swing, guitar crunch track that's both sonically bombastic and vocally bonkers. A weird, sweaty gelatinous concept of what aliens might think of if they were tasked with recreating "hard rock." 

Online Zombie- 2 Ambient house music with Pollard shout singing over angelic symphony drawls. Big fan of the backing vocals, but don't know where this one fits for me. 

SIDE B:

Mama's Got a Brand New Snake- 3 Great title! Can't wait to see the film. Circus Devils tapping into their inner Melvins (Monster Magnet?) sludge rocker worship. Pollard gives a strong performance over the plodding dirge of Tobias.   This songs sounds like an ashtray smells, and that is a good thing here. 

Laughable Suit- 4 Feels like a mambo from Hell. A brief but great acid headfirst dive full of bad vibes all around. Wonderfully cryptic, subtle, and unsettling lyrics add to the general dark cloud this one drags around with it. 

Bad Queen- 5 If monsters started a garage band (but actual monsters), and were really good, this could possibly be the result. Self reflective monsters too based on the lyrics. Repetitive, monotonous, unforgivingly weird production make this a nightmare gem. 

Franklin's 48th Hallucination- 4 Guitar rock with horror underpinnings. It's a short song, but damn this one feels like it gets dark. A digestible headache in under a minute and a half! Take the ride. 

Difficult Dreamer- 4 The complete antithesis to "Franklin's..." Ethereal material, feeling like one that got away from Escape. A swirling acoustic track that feels like it begins to disintegrate as it goes along, swirling into the unease, ditching all the good will it once started out with. 

Bone of Contention- 3 Music for a motivational VHS video about feelings... but made by literal monsters. And there's a DJ!  Absolutely ridiculous, but addicting, and upsettingly catchy. 

The Gig That Won't Go Away- 3 A brief fever-dream cheerleader practice backed by a band while a UFO hovers above. The band takes advantage of the pedal board to lead us out in this short, sweet, strange trip. 

The Joke Is Over- 4 Is this the most heartfelt ballad hidden on a Circus Devils? Or is it bit of pastiche of a lounge singer in purgatory? Either way, fantastic vocal performance here over acoustic strums. A song that sounds like light peering through your blinds when you know you've only been asleep for less than 4 hours. Beautiful. 

Ferris Wheel- 3 Pulling out a bit of the Gringo vibe, this is another that could have fit somewhere on a Pollard solo track if not for Pollard's seemingly momentary stream of conscience about world news and baseball. 

Squeeze the Needle- 5 When that screaming shit came in the mix over this haunted bullshit... Fuck yeah! Incredible closing track! 

 

La La Land (2023)

 La La Land

(2023, Guided by Voices Inc.)

With the arrival of the new year, so comes a new Guided by Voices record!
 
Much in the same vein as Tremblers and Goggles by Rank, comes the oddly named “La La Land.” I saw GBV around the time Tremblers… came out, to which Pollard announced the title (which had also been circulating around the internet), and explained it was inspired by an old “bully” of sorts in the Dayton area who’d tell people he’d knock them into “la la land.” Whatever the case, this certainly didn’t stop a rash of short lived blurbs relating this to some sort of nod to the 2017 Oscar contender of same name.
 
All Gosling/Stone press aside, La La Land is the natural companion piece (as also stated in the press releases) to Tremblers... in almost every way: shorter track list than usual (11), longer song forms (another 6 minute outing!), heavy emphasis on multiple musical sections per song, and experimentation with audio trickery not always synonymous with GBV. All boxes are checked, and for the most part it works, perhaps better on one side of the LP than the other.
 
The reformed lineup (which at this point is consistently the longest and strongest formation of the band), continues to crank them out with engineering mastermind Travis Harrison. At this point, it feels like anything is possible with this band, and after 14 studio albums dating back to 2017 could you even argue that statement? For better (or worse for the easily fatigued), that seems to be true. While not an overall immediate impact record as some, there are a smattering of gems in this field of prog risks, pop sincerity, and bold ideas. 
 

SIDE A:
Another Day To Heal- 1 I recall reading a quote someone posted after talking to guitarist Bobby Bare Jr. where he said "just wait to you hear La La Land!" While I am paraphrasing a second-hand quote, high standards for this record were already in motion. So upon hearing the opening track, I was rather confounded. Along with "Made Man," off Earthman Blues, I still scratch my head as to why this was chosen as an opener. It's a direct but extremely middle-of-the-road guitar driven track with little to write home about. For some odd reason, Pollard's vocals are not only way up in the mix, but slightly out of tune most of the track, having the feel of a one-and-done vocal take (not necessarily for the better). The best part of this is the essential fade out into the glorious... 
 
Released Into Dementia- 5 Speaking of vocals, has Pollard ever sounded better!? Talk about a wild juxtaposition, but Bob sounds like he's singing for the angels on this gorgeous track. Solidified by a sturdy acoustic backbone, this one crunches but remains consistently airy while never losing its heaviness. The melancholy, Beatles-esque "organ" part at 1:25 is to die for, followed by a Doug Gillard riff that consistently leaves my speakers smoking. A real open-your-arms-and-embrace life celebration, "Released Into Dementia," is the type of track that makes you thankful you have not only found out about Guided by Voices, but that you've made them your favorite band. 

Ballroom Etiquette- 4 Following in the footsteps of "... Dementia," GBV bring another of their prettier songs. While not nearly as crushing or dreamy as its predecessor, Pollard provides more incredible vocals while weaving a hallucinatory web of lyrics. The cadence is almost nursery-rhymelike at times making this an infectious earworm, if not always immediately. 
 
Instinct Dwelling- 4 This is the first glimpse the public saw of the LP, as this was released as the initial internet only single. After the previous 2 tracks, this one feels like the "punk" statement from the band. Pollard gives a more pissed-off, ominous vocal performance on the stomping chug of the verses before the gates burst open with its simplistic, fist-raising choruses. Carried mostly by the guitar crunch of Bare and Gillard, it's one of the heavier GBV dirges in a while, arriving with tinges of hopelessness and snarl. 
 
Queen of Spaces- 5 Perhaps after too much attitude from "Instinct Dwelling," GBV roll out one of of the most intimate moments in the discography  A song so cold and brittle in spots, you almost have to sit and observe, afraid it might break in your handling like an icicle. After sparse acoustic plucking, longing piano chords, and a blanket of strings, Pollard finally makes his entrance at the 1:20 minute mark. An what an entrance it is; the icing on top of what has to fit in the box marked "TOP 10 PRETTIEST GBV SONGS OF ALL-TIME."  If "It's Good," helped start the tears years ago, "Queen of Spaces," may help clear out your tear ducts for a while as you reflect on the entirety of your life, or perhaps the endless boundaries the fucking universe itself. 
 
Slowly on the Wheel- 3 Perhaps in an effort to catch your breath, Pollard unveils one of the heaviest experimental pieces of GBV writing and patience in a while. As if challenging "Who Wants to Go Hunting?," we're hit with another 6 minute outing, this time ending not the record but the first side of the LP. For 1:40 minutes, we hear a lone piano accompanied by a lone, shaky vocal track. It's so bare, it fascinates. Unfortunately, the song remains a little too desolate throughout its run time. At 4 minutes, it finally beings to sound like a rock band, complete with soaring melody worthy of celebration. A bold swing for the fences in experimentation, one that nearly comes close to sticking but pales slightly next to some of the more recent GBV epics of the last few years. 

 
SIDE B:
Cousin Jackie- 2 Another layered track, "Cousin Jackie" opens the second side with vibrancy and immediacy. Unfortunately, this has the rare distinction for me as being one I've liked less the more I've heard it. A mid-tempo stomper for most of it, Pollard says "make it rain," somewhere between 20 and 400 times to the point it becomes cloying. Toward the end, he takes a risk on some dated sounding rock scatting that doesn't completely fail but also doesn't really work. A bold track throughout, this one probably has the power the be a fan favorite of the LP, but leaves me longing. 
 
Wild Kingdom- 3 Absolutly melt over what sounds like the demo version of the vocals during the introduction of the song before the band kicks in. Another mid-tempo number that falls into straight ahead rock territory. Being that we're in prog land, the bridge has some start-stop moments. The simple but effective "an invitation to suffering moments," make this one slightly memorable. 
 
Caution Song- 3 A slower, mildly hypnotic track thanks for Pollard sounding like he's floating above the mix. Musically, there's nothing much to highlight, but simply revel in a great vocal delivery that helps make this a late LP song worthy of revisiting. One that seems to get better each time, personally. 
 
Face Eraser- 3 Somewhere between new wave quirkiness and punk delivery, "Face Eraser" commits the sin of being catchy by being nearly annoying. Pollard manages to continually rhyme a series of basic words with more basic phrasing, a technique that seems beneath his usual writing style. Feels like a sister piece to "Questions of the Test"; I should love this, but something is missing, and cant help revisiting in hopes that piece has somehow fallen into place.
 
Pockets- 2 In the style of "Cousin Jackie," Pollard relies heavily on repeating the title, basically giving scenarios of all the different ways we can use the word "pockets," in one's life. Like the word "pockets" itself, the song is rather a underwhelming. After a an LP of wild ideas, moments of swinging for the fences, this doesn't feel like we're properly shown the door. The extended guitars-only outro brings a welcomed farewell, if not somewhat unnecessary.