Crystal Nuns Cathedral ( 2022)

 Crystal Nuns Cathedral

(2022, Guided by Voices Inc.)

Until 2018’s Sweating the Plague, the concept of the 12 track GBV album was almost unfathomable. A band known for 10 track EPs (and a minimum of 14 to 15 songs per LP), the aforementioned LP broke new ground with one of their more focused, yet prog heavy affairs. It was a record that left little fat in the mix. Such was also the case with 2017’s Space Gun; a 15 track LP so worthy of celebration, Robert Pollard admitted to the conscious decision of letting it stand as the band's lone album of 2018.

While we're on the topic of Space Gun, I have personally come to regard it as the benchmark. Such is my fervor for what is undeniably the stone-cold best amalgamation of any Guided by Voices' lineup, this LP has remained in my heart as the best of the (whopping) 12 LPs since 2016. Its tracks weave nicely between heavy-handed pop, listener friendly prog, all topped with soaring harmonies. It's the reunion record I did not think could be topped.

Then, along comes Crystal Nuns Cathedral. Following 2021’s somewhat inconsistent It's Not Them. It Couldn't Be Them. It Is Them!, this record comes as a bit of a shock. Where the former is a collection of orchestral anthems smattered with some ho-hum 2-3 minute pop-leaning filler (and “Razor Bug”!!!), CNC drops into the catalog like an anvil. 

                At 12 songs, it’s a lean tracklist to be reckon with. However, every song packs a undeniable punch. The lack of filler shows, as every move feels about as calculated and deliberate as anything Pollard has released. As is the ongoing case with every new GBV, Travis Harrison continues to aid as the 6th member of the band with his stellar production. If there's a set of ears who gets how to elevate the band, they belong to Harrison. His production work alone cannot be understated as the band reaches new sonic highs. 

Over the past few albums, Doug Gillard’s string arrangements give an aural heaviness and emotional weight to these records that can be felt in one’s bones. Crystal Nuns Cathedral is no exception. In all this, Pollard continues to laugh in the face of the concept of aging. Vocally, he absolutely crushes his past performances with possibly his best showing to date. To top it off, the often psychedelic, existential lyricism are some of his recent best.

The question is not whether Crystal Nuns Cathedral as a whole is the best new "reunion record," but possibly one of the best Robert Pollard related albums of all-time?

SIDE A:

Eye City- 5 With its lackadaisical guitar bends and subdued time keeping, it's pretty immediate we're not in for a record filled with a bunch of “Cigarette Tricks” and “Hit" length tracks. No punch in the gut here, the LP opens with a breath of cold air, Pollard hovering over the vocal mix like hanging icicles. The guitars snake around as if longing to burst. After a much anticipated set up the song inevitably  explodes at the chorus.  Pollard's layered harmonies are equal parts haunting and infectious. Laden with dynamics, this opener is a panasonic attack of layered haze, the band waiting to attack at any moment. A long fuse burns slow eventually leaving unavoidable burns. 

Re-Develop- 5 Tom pounding abounds as Bare Jr. and Gillard lead a staccato guitar jab while Pollard lays an instantly slyly hooky verse. In revelry, the chorus opens into a top 10 fist raising anthem. Straddles a wonderfully delicate line between longing and immediacy. Begs for repeated listens during moments of triumph, and times of uncertainty.

Climbing a Ramp- 4 Carried by Gillard's pummeling cello arrangement and March's robotic hi-hat work, "Climbing a Ramp" is an upward journey full of longing, loss of hope, anxiety, and eventually the gimmer of possible hope. Like the grind itself, this feels like it'll never end, trapped in the ever moving, unforgiving gears of life itself. Eventually Gillard's blazing lead into fiery solo carries us out. Additionally, the orchestration brings this song to new heights, with Pollard's not-so-thinly-veiled lyrics about continuing to carry on "always climbing a ramp" only adding to the weight. 

Never Mind the List- 5 After the anxiety and eventual release of "Climbing a Ramp," this song sounds downright breezy. Closer to "classic" GBV than the previous songs on the record, "Never Mind the List" is carried by a singular Pollard vocal take that absolutely shines. Incredibly infectious in its mid-tempo groove, this song seems to again speak of continuing to carry on. Never mind "the list," disregard the outside voices. Come to think of it, never mind what I say on this site either! "And I always throw another list away." 

Birds In the Pipe- 4 The band plays a sparse waltzy cadence, Pollard confidently upfront in the mix. Another perfectly paced track with a lot of open space to breath. Halfway through, Pollard introduces an incredible call and response vocal part. Eventually, he ups the ante at the 2 minute mark, hitting incredible vocal highs, nailing the notes on the head. Where this may have paled slightly in the past, the group is so incredibly gelled with Harrisons' production topping it off nicely.

Come North Together- 5 Immediacy takes center stage, Pollard bellowing harmoniously from the jump. Side A leads us out with another celebratory anthem dotted with moments of melancholy. It cannot be understated just how surefooted Pollard sounds here, from the sing-along worthy verses to the bridge. An incredible ending to one of the strongest sides of any GBV outing.  

SIDE B:

Forced To Sea- 3 We open SIDE B with what feels like a callback to "Next Sea Level" off Surrender Your Poppy Field. It's a soundscape track of sorts, with the band nearly aimlessly moving along in pure mood. There's no immediacy here as you begin to wonder if we're getting an instrumental. At nearly 2 minutes, Kevin March kicks in with Pollard following suite. As close to stoner rock as the record comes to at this point, "Forced to Sea," is in no hurry, eventually leading us out with the force and determination.

Huddled- 3 "Huddled" is one of those tracks that  means no harm, no foul. In fact, every time I hear it, I've really enjoy it. However, in an LP full of continuous surprises and on point performances, I often find myself forgetting how this one goes. Somewhat prog-laced with its multi-sectional pieces. Not much in the way of a chorus to sink ones teeth into, but a strong enough middle of the pack showing nonetheless. 

Excited Ones- 5 The first of internet streaming singles to see release, "Excited Ones" is a pure melodic torpedo anthem aimed straight the auditory cortex. This one almost comes off as GBV-up-to-their-usual-tricks. Regardless, there's no point in denying the joy of this hooky, immediate anthem. Pollard slips in more moments of sly harmonizing as the band upwardly bashes behind him in a joyous pogo. Another revelatory track cloaked in a thin layer of melancholy. 

The Eyes of Your Doctor- 4 A hefty dish of psychedelic and the prog on one of the records most ambitious songs. "The Eyes of Your Doctor" starts out in an airy territory. Midway, the tempo picks up with immediacy before drawing us back into calm. Full of jilted starts and stops, Gillard's leads provide a memorable hook. Vocally, the hooks sink in after repeated listens.  At 4 minutes, and with a smattering of moving parts, this may prove to be one the sneakiest earworms of the LP with its assortment of surprises.

Mad River Man- 3 Foreboding penultimate track, the song is mostly carried by Harrison's production. Pollard delivers a somewhat middle of the road vocal hook over one of the gloomier showings on the record. A minor chord feast that comes off as one of the more forgettable moments of the record.

Crystal Nuns Cathedral- 5 Following the gloom of "Mad River Man," the band fires back up for a wonderfully revelatory, concise, and hook laden closer. Full of cryptic, psych lyrical mysticism, this may be the most immediate closer since "An Unmarketed Product,." At just under 2 minutes, this pop gem calls for you to flip the record back over and start the journey again.