It's Not Them. It Couldn't Be Them. It Is Them (2021)

It's Not Them. It Couldn't Be Them. It Is Them

(2021, Guided by Voices Inc.)

Reputedly an album title that was in contention for 2003’s Earthquake Glue, the INTICBTIIT moniker finally sees the light of day. As tongue-in-cheek as it is true (and a testament to the groups audacity), Guided by Voices continues to throw caution to the wind. Record plant backups be damned, GBV can’t be stopped, won’t be stopped! The 2nd proper Guided by Voices album of 2021 (and the 11th with the re-reunion band, if you're still keeping score at home), is yet another triumphant display from the solidified line-up that seems determined to take no prisoners with each subsequent record.

After the experimental, mixed fidelity "school musical rock opera" grab bag of Earthman Blues, GBV issue another 15 tracks crammed with sentimentality, high wire experimentation, and an orchestral display rarely seen before. The sheer fidelity here is also an immediate standout. Always a wiz behind the boards, Travis Harrison takes matters in his own hand by crafting perhaps the most hi-fi GBV record yet, one that really compliments the inclusion of such orchestral passages as mentioned. The experience truly pays off in helping push some of the records (multiple) triumphant moments through the ribcage.

Unlike some its predecessors, It Can’t Be Them.. is one of the few records that feels like it lacks any sort of cohesive feel, weather thematically (Earthman Blues), or stylistically (Styles We Paid For, Surrender Your Poppy Field). This doesn’t necessarily detract from the record. However, it’s one of the first in a while that feels like assortment of songs without a distinct stake in the catalog to claim. Nevertheless, it’s another dizzy display of Pollard’s bottomless barrel of brilliance delivered in recent year quality we’ve not only come to expect, but may possibly be taking for granted at this point.

  

SIDE A:

Spanish Coin- 4 As the 3^rd run of GBV LPs continue to pile up, the surprise left turns of Song 1/Side 1 keep coming. No longer a sure bet, Pollard has used these first tracks as a springboard for some of his wilder ideas (see “Year of the Hard Hitter,” “Downer,” etc.) “Spanish Coin” is no exception. At nearly 3.5 minutes, the song takes its time building up over traditional flamenco guitar leads, trilling trumpets, and layers of Latin percussion. Pollard sounds upfront, somewhat desperate in his delivery, really aiding the arid feel of it all. If nothing else, the song is another welcomed gamble in style and mood that generally pays off.

 High In the Rain- 5 One of the early online singles released for the LP, “High In the Rain” is up there with some of the most triumphant GBV songs in the catalog. Pollard sounds excellent, bellowing out melody after beautiful melody. Gillard’s string arrangements sore, hitting you directly in the chest. Like the opener, this one builds until ready to burst. Perhaps almost too heavy handed in spots for some, this is uber lush territory, only further propelled by Travis Harrison's impeccable production.

 Dance of the Gurus- 5 A propulsive guitar anthem, filled with psych dropouts. Not to mention infectious, perhaps due to Pollard’s near cloying repetitive word play of the fleeting not traditional “choruses.” The song benefits from some well timed drop out, only to explode back in, particularly at the end.

 Flying Without a License- 3 Barebones guitar intro gives way to sudgier prog psych.  When the band kicks in they trudge along a slow groove, taken their time while cloaks himself in a blanket of vocal reverb. The whole track feels clouded in smoke, as you peer through the haziness with half open dried eyes.

 Psycho House- 4 Following the vein of recently named “house” songs, this one takes a page from the repetitive slow burn of such growers as “Slaughterhouse” off Styles We Paid For. Subdued to a low-level drone jam of sorts, “Psycho House” constructs a hypnotic mood, one that’s easy to fall backwards into waiting for it to consume you. The kind of song that boarders on temporary psychotic bliss.

Maintenance Man of the Haunted House- 3 Speaking of more “house” songs, Pollard continues his fascination with domestic dwellings. Here, Pollard and gang dive deeper into “moody” territory. The feel of this one is solely in the name. An eerier slow burn, in the vein of Circus Devils’ track.

I Share a Rhythm- 2 Completely harmless pop rocker. Unfortunately, it’s the cut and paste structure that makes this feel mostly forgettable. Comes off as a tossed off track backed by a single  Pollard vocal track that’s one of the only spots on the record leaves a little to be desired. The type of GBV track that fails to make its way into my memory, causing me to forget what it sounds like until I put it back on.

Razor Bug- 1 Destined to be THE most talked about track of the LP (for all the wrong reasons), “Razor Bug” is essentially the new “Sad Baby Eyes,” but more stripped down. Pollard “performs” acapella into his boombox, sounding like a sloppier, less gravely Captain Beefheart, spewing off some possibly stream-of-conscience lines about Mr. Razor Bug. I don’t hate its inclusion, and in fact kind of enjoy it showing up to end Side A. Essential? Far from it. An event not to be missed. Oh yeah. 

 

SIDE B:

I Wanna Monkey- 2 Excellent industrial drum intro leads us into post-punk pop territory. At nearly 3 minutes, Pollards voice hangs upfront for the majority, bringing to mind a Lee Ranoldo-esque delivery. The outro propels toward the finish line, Pollard shining in a bellowed doubled vocal performance, but the song never really takes hold, falling flat in an “I Share a Rhythm” kind of way. 

Cherub and the Great Child Actor- 4 From the get-go, the lead intro brings to mind some vintage Pollardian penned moments . Vocally, Pollard delivers a hypnotically melodic croon throughout. The group comes off so effortlessly, it's almost easy to miss the simplistic beauty here. Smooth, subtly jangled, subtly psych, all pop at a perfectly prim 2 minutes. The song rings out... 

Black and White Eyes In a Prism- 5 ... different in scope but somewhat similar in feel, we pick back up, as if this were the added addendum to "Cherub..." At 4 and a half minutes, "Black and White Eyes..." is the epic of the LP, and what an epic it is. Disregarding multi-sectioned layers found on some of the band's recent epic outings (i.e. "Light Out in Memphis," "Sons of the Beard"), "Black and White..." relies on its easy flow groove while slipping easily into a multitude of lush string passages. Much like "High In the Rain," this one spills over the top several times in pure revelatory triumph. 

People Need Holes- 4 Dogged by a fairly forgettable first half, "People Need Holes" is all about the fist raising second section. The first minute and a half is all about the anticipation, waiting for Gillard's angular lead to accent Pollard's deadpan melody until the quadrophonic "oh yeah"s carry you off downstream in a joyous haze.

The Bell Gets Out of the Way- 3 Reserved in feel, similar to "Low Flying Perfection, “ off How Do You Spell Heaven. After running through a bit of an emotional gamut, "The Bell..." feels like a refreshing palate cleanser with a finish warm hug. A place to regroup after some heavy handed aural therapy.

 Chain Gang Island- 3 Mid-tempo stomp, accented by some immense vocal reverb for max psych disorientation. Boiling slow and steady, it all mounts to a headrush of feeling; a satisfying blend of hard psych rock finishing off in an extended, swirling existential psych jam that's a welcomed (and necessary) addition to the LP. 

My (Limited) Engagement- 5 The first of the online singles to be released from the LP, GBV send the LP off on a high leg-kicking note, Pollard reaching the highs with a saccharine sweet bellow. A compact mini-anthem destined for easy GBV playlist pop territory. A final sunbeam at just under 2 minutes from another sonically demanding LP of tricks and audial delights.