Doug Gillard

Field Recordings & Amp Drops: A Conversation With Doug Gillard

March 4, 2022 — 1 Comment

With today’s release of Guided By Voices’ 35th album and instant classic, Crystal Nuns Cathedral as well as their highly anticipated return to Boston tomorrow night at Royale, I thought it would be a great time to check back in with GBV’s Doug Gillard. This time around we focused our conversation on the creative process behind Crystal Nuns Cathedral.

The Ash Gray Proclamation: Crystal Nuns Cathedral has been accumulating high praise from critics and fans alike and with just a few days until release day, I’m curious to know what makes CNC so special among the already impressive run of releases from this line up?

Doug Gillard: We approached this one with more of an eye to get slightly bigger sounds, slightly more homogenous throughout the album and deliberately less idiosyncratic mixes than usual perhaps.  Its still us and all our same instincts, so there are still occasional synths, field recordings, amp drops, wild ideas, etc.

The Ash Gray Proclamation: On one of many standouts on the album, Climbing A Ramp offers a bit of orch pop before coming to an anthemic and rather exhilarating finish. Can you tell me how that track came together and what your vision was for both the string arrangement and guitar composition?

Doug Gillard: Bob’s demo had all the elements in it, plus his production notes. On this one, the cello line was something Bob already had in mind and sang it on the demo. I transposed it and wrote it out for the cellist Chris George, ex of the NYC string quartet Invert.  For the song Eye City, those were cello parts I came up with.  As far as guitar for this song, I just played Bobs chords on a couple electrics and acoustics, and already had the lead tracks done on a session at home so we used that instead of my trying to re-play it in studio. I could’ve tried, but it was one of those that came together so well I didn’t wanna fuck with what was already down.

The Ash Gray Proclamation: I read that on Earth Man Blues the band recorded their parts separately due to constraints of the pandemic. Was there a chance this time around for you all to get together in the same room to work on these songs? 

Doug Gillard: We tend to do a great deal of remote home recording each album anyway, but especially during 2020 and 2021. For CNC, most of us were at the drum sessions one day or the other, and Travis Mark and I worked on guitar and bass parts at his studio.  We did basics on select tracks all together for Its Not Them, Mirrored Aztec and prior, but not for Styles We Paid For or Earth Man Blues. Straynge dayze, you know.

The AGP: Did the process for recording Crystal Nuns Cathedral follow the usual process with Bob sending each of you demos to work on individually or was there any deviation from that or special instruction for this batch of songs?  

Doug: Well, we receive the demos as a group at the same time, and that process didn’t change for this album. Bob usually gives us general production notes each record, so, nothing unique about this process with regard to past albums.

The AGP: As the band is currently in rehearsals for some upcoming East Coast show’s this weekend, what songs are you most looking forward to performing and can I cast a vote for Huddled?

Doug: Thanks, I agree, that’s a great tune! It’s a nice challenge doing Climbing A Ramp, which is sounding really great, and Excited Ones is such a great pop song that it’s really fun to play. Mad River Man has a special quality, so am looking forward to that one as well.  Eyes Of Your Doctor is a slow boiler too. Total rock.

The AGP: What’s the rest of the year ahead look like for you personally as well as GBV?  

Doug: Continuing to record, release records and play live shows, some side recording projects here and there, hopefully traveling to see family.


The AGP: During the last few conversations we’ve delved into some current listening habits. What albums have you been enjoying as of late?

Doug: Mainly, its going back and refamiliarizing myself with things I used to put on all the time but haven’t in a while. Lately its anything by The Groundhogs from ’68-’75. I’ve always been a big fan and can find a few things to love on all those records. Highly interesting stuff. Magazine- first 3 albums plus have been delving into their live performances from the time, TV appearances, etc., John McGeoch’s always been near the top of my favorite guitarists, and Barry Adamson’s career started here. All the Thin Lizzy output and solo Phil Lynott material. Probably prompted by news last year of a statue of Phil unveiled in Bromwich, UK which looks more like Vonnegut than Lynott.

Thank you to Doug for taking the time to chat during a busy week of rehearsals and travel to conduct this conversation.

Crystal Nuns Cathedral is available now via Rockathon

Don’t miss Guided By Voices Saturday, March 5th at Royale

The Ash Gray Proclamation Proudly Presents: A Conversation With Doug Gillard

September 10, 2021 — Leave a comment

As I’m sure you’re well aware by now, that Guided By Voices were forced to postpone this weekends East Coast shows due to illness. Thankfully a new date has been announced for their return to Boston on January 15th at Royale. With a handful albums added to their cannon during a time where they were unable to tour this news hits particularly hard, but these continue to be truly strange times to live in. Taking measures to keep both the band, their fans safe and healthy is paramount. Last week I had the good fortune of connecting with GBV’s Doug Gillard via zoom to discuss the band’s recent output, the challenges of recording and releasing albums during a pandemic, and the forthcoming LP It’s Not Them, It Couldn’t Be Them, It Is Them. A huge thank you to Doug for taking the time chat and stay tuned for part two of our conversation coming this winter.

*Photo of Doug performing at the Telegram Ballroom, Los Angeles 12/31/19 as well as the image that runs throughout the interview (DG on the balcony) provided by Ana Luisa Morales. With audio assistance from Reuben Bettsak.

Review: Guided By Voices – Earth Man Blues [Rockathon]

April 30, 2021 — Leave a comment

Today marks the release of the 33rd album from Dayton, OH indie legends, Guided By Voices and the 10th in 4 years from the lineup of Robert Pollard, Doug Gillard, Kevin March, Mark Shue, Bobby Bare Jr., and producer Travis Harrison. Now that we’ve dispensed of the statistics let’s dig into the utter magnificence of Earth Man Blues. The album is tied together with the loose concept of a rock opera that takes place at the John H. Morrison Elementary School and consists of material that Robert Pollard wrote in recent years but, for one reason or another never included in the recent recording sessions or the bands output, until now.

On my very first listen I was struck by each of the 15 tracks that occupy Earth Man Blues, some of which I connected with immediately while others took more time to reveal themselves. I’m not sure if I would classify the album as a grower due to Pollard’s striking pop sensibilities throughout, but on each and every listen I discover something new and enthralling to latch onto. Let us skip the comparison to the bands revered back catalog and allow Earth Man Blues stand on it’s merit. Made Man opens the album with a bit of swagger and manages to make full use of all 1:12 seconds, while making a strong case for brevity with  twin guitar crunch, pop hooks, and a gorgeous albeit concise string section. Dirty Kid School is a minor curveball in terms of the GBV aesthetic, but when the rockabilly punk rave up hits, it hits hard. The track contains one of a few effective interludes found throughout the LP which adds an element of psychedelia and experimentation before Gillard’s insanely catchy riff returns and the listener has been transported back to the hallways of the aforementioned learning institution. Elsewhere, the band delivers one of the albums high water marks with Lights Out in Memphis (Egypt), a progish number, skillfully balanced with some the album’s finest pop hooks. That track also provides another how the hell does he do it moment, with the line “trained alien sales reps for aluminum can Siberia” Earth Man Blues flies by in no time and before you know it you’re already 7 songs in before another EMB stand out and my current favorite of the set, Sunshine Girl Hello arrives with an intro and coda that sounds as if culled from one of Bob’s suitcases during a Monkees/Herman Hermits phase, then quickly switching gears with chugging chords, sublime leads, and a gorgeous chorus. When the band returns to the Live setting I imagine Ant Repellent will be a new staple of the set, the track features a sinister chorus/chant, a Mark Shue buoyant bassline with Pollard delivering a stunning vocal hook near the end of the track. The one-two punch of the strange yet stunning, How Can A Plumb Be Perfected? a song that exudes Pollard’s penchant for stirring melancholic ruminations and Child’s Play, a track that to my ears could’ve worked just as well as an opening and ends the album on a euphoric high note.

Who would blame you dear reader, if you greeted the above claims with a raised brow or even a bit of skepticism, because although this current run that started with 2017’s August By Cake has been quite impressive, with each new release there are inevitable claims from casual and obsessive fans alike, myself include who suggest that GBV’s latest offering is to be its creators finest hour. But, with Earth Man Blues there is something different at work, something completely compelling and unique, more so than any of their recent recordings. Although this isnt an album of reinvention its one that finds an artist 38 years into an venerable career continuing to push limits and create vital art on his own terms. Earth Man Blues is a singular and exquisite artistic achievement which further illuminates Robert Pollard’s unparallel songcraft as well as GBV’s adroit musicianship.

Earth Man Blues is available now through Rockathon

Review: Guided By Voices – Sweating The Plague

December 20, 2019 — Leave a comment

STP
For someone that has lived with this the 3rd LP of 2019 from Dayton, OH indie rock luminaries, Guided By Voices since last summer, I sure took my sweet ass time getting around to submitting my unsolicited evaluation. Before I dive in, allow me to digress on a personal note. 2019 has been a tough year for me personally with plenty of ups and downs, with a whole lot of uncertainty as to what the future will hold. So, for this to be the year for my beloved Guided By Voices to deliver three LP’s, It’s not an overstatement to write the following: these albums and the songs that occupy them couldn’t have been released into the world at a better time. In February Robert Pollard and co. kicked off the year with the exceptional 32-track double album, Zeppelin Over China, the hook fest that is Warp and Woof was delivered in April, and last month the band issued their most concise outing since 1987’s , Sandbox with Sweating The Plague. Has anyone ever started review with a thank you? I suppose it doesn’t bode well for objectivity but then again, this blog is in fact named after a Robert Pollard song and after 13 years I feel like you should know what to expect by now. The point I’m struggling to make here is that there is catharsis in music, and it doesn’t necessarily have to be heart on your sleeve confessionalism or cry in your pillow emo, not that there’s anything wrong with that, when executed correctly, of course. The 68 songs that Bob and Guided By Voices unleashed into the world this year gave me something to cling to when I felt like things were slipping from my grasp and when I needed them most, so I am forever grateful for that and for this band I have obsessed over since 1994. Now that I have that off my chest lets proceed headlong into Sweating The Plague.

Unlike last spring’s immediately accessible and infectious Warp and Woof, Sweating The Plague takes a more subtle approach and reveals itself over repeated listens. Not to say there aren’t a handful of instant earworms within. For instance, both Street Party and Ego Central High come charging out the gate with mammoth hooks and stunning melodies. There are still days when I wake up with the latter’s chorus “Find your elevation while you can” bouncing around my head. A fine way to drag oneself out of bed and face the challenge of a brightening new day. Plague’s radio ready, should be hit (if radio didn’t completely suck), Heavy Like The World is a stunning pop song that only Bob Pollard could write and then re-write. The re-recording of The Suitcase 2 gem, I’d Choose You, is the gorgeous centerpiece of Sweating The Plague. Last May I was standing next to the person that will soon be my x-wife at The Paradise in Boston as Doug Gillard began to play the songs opening chords when I caught that look, you know the look, the why are you freaking out look? I was having a moment that will forever be connected to that song. I attempted to explain, turning to her to say it’s I’d choose you! It’s on Suitcase 2! She just nodded, smiled and pretended to care. Before long I realized it wasn’t what I thought it was, it was even better. From that moment on the that balcony with a big part of my past that song instantly became the anthem of an excruciating year, but one that delivered more hope through melancholy and beautiful melodies than anything I’d heard before.
“Heavy like the words on your tattoos”.

Considering the bands output, especially this year, us Guided By Voices fans certainly are a spoiled and lucky lot. Any concern over the albums shorter track listing quickly subsided after spending time with these 12 songs. The line-up of Doug Gillard, Bobby Bare Jr., Mark Shue, and Kevin March continue to shine supplying varied and adroit instrumentation throughout to complement an exceptional song cycle with not one skippable track in the set. Sweating The Plague never loses momentum, in fact as of late I’m completely stuck on the albums final three tracks, with the infectious and anthemic Immortals, My Wrestling Days Are Over which features the band playing along with Bob’s demo giving the track a decidedly lo-fi feel, and my current favorite of the LP, Sons of the Beard, a fantastic multi-part and epic prog rock track, complete with strings and a liberal dose of synth that Keith Emerson would be down with. It’s been a marquee year for Guided By Voices with each of their three releases being as vital and unique as the next but with Sweating The Plague, Guided By Voices delivered something special, an album that is equal parts dense, subtle, and completely exhilarating. Some albums hold extra meaning because they help you get through the hard shit and some albums are special because they contain great songs that stick with you long after the record stops spinning, for me Sweating The Plague is both.

Sweating The Plague can be obtained at Rockathon Records/The Factory Of Raw Essentials

Heavy Rhythm: An Interview With Doug Gillard

October 19, 2018 — Leave a comment

dougThere has been many pivotal moments in the life of Guided By Voices. The bands 1993 performance at CBGB’s during CMJ New Music Seminar as well as when Robert Pollard scrapped what is now referred to as the “classic line up” (the first time) in favor of fellow Ohioan’s Cobre Verde on Mag Earwig and more recently Doug Gillard’s return to the line-up in the summer of 2016. Since that point Bob and co. have been on tear releasing a string of exceptional LP’s with GBV as well as with ESP Ohio, a project that features Gillard as well as current bassist Mark Shue and GBV producer and audio engineer Travis Harrison. On Monday GBV will play a sold-out show at The Sinclair in Cambridge for what will be their first Boston area appearance in over two years, a momentous occasion indeed. Earlier this week I had the pleasure of talking with Doug Gillard about the recording process for the forthcoming double LP, Zepplin Over China, the bands current 2.5 hour Live set, and his continued solo and production projects. A huge thank you to Doug for taking the time and fielding our questions.

The Ash Gray Proclamation: What can you tell us about the next Guided By Voices LP, the 32 track Zeppelin Over China?

Doug Gillard: Its a double album (vinyl), and completely diverse. It ranges from heavy songs to songs with strings, to just one electric guitar with Bob singing. We are very proud of this album, and its not really like any Guided By Voices album released to date.

The Ash Gray Proclamation: With the band being spread out geographically, what was the recording process like this time around?

Doug Gillard: We recorded about a third of the album’s music together as a group to 2-inch tape, then others we individually played or sent in parts for at different times. When the music was completed, our producer/engineer Travis Harrison traveled to Dayton from NYC to capture Bob’s vocals for the album. I did some string, horn and piano arrangements for the album as well.

The Ash Gray Proclamation: Is there track or perhaps tracks on the new album that stands out for you or one that you are eager to play Live?

Doug Gillard: We are already playing You Own The Night and Rally Boys live in our set, soon to put in My Future In Barcelona, which I think will be in by the time we hit Boston. I can’t wait to play Holy Rhythm live.

The Ash Gray Proclamation: Before the release of the next GBV full length, there are plans to release two EP’s this November, Winecork Stonehenge and 100 Dougs. What was the creative process behind those EP’s?

Doug Gillard: There are 2 more EPs being released after those as well to complete the cycle, namely Umlaut Over The Ozone and 1901 Acid Rock. They all have songs hovering around 2 minutes or less, 6 songs per vinyl EP, and play at 33 rpm. Bob wrote the songs for each one fairly quickly, and we actually recorded a lot of the guitar/bass tracks while in the van on our tours. Travis is along with us, brings some gear, and we monitor through the rented van’s stereo speakers. Kevin did his drums at our friend Ray Ketchem‘s Magic Door studio in Montclair, NJ to kick it all off. Later next year after these vinyl EPs are released, all songs from the EPs will then appear collectively as an album imagined and re-sequenced by Bob entitled Warp And Woof.

The Ash Gray Proclamation: In terms of gear, your trusty black Les Paul has been your go to guitar for years. What is it about that guitar that keeps you reaching for it?

Doug Gillard: Its just dependable. Really durable (don’t jinx this, Doug), and the bridge pickup is a mid 70s DiMarzio Super 2 that just has a unique bite to it. Its a ’76 Custom I bought from someone in Akron when I was 19 and I keep it maintained a bit, but I don’t have to do much. Its heavy as shit, too, which I hate these days, but hey, you gotta sacrifice your sacroiliac for your life’s work every now & then.

The Ash Gray Proclamation: What is your current gear set up on this tour?

Doug Gillard: Currently its the Les Paul, a G&L Tele as backup, an old Mesa Dual Rectifier Solo head, Marshall 4×12 cabinet and a bunch of pedals. Pedalboard is ever-evolving. Not so much evolving, as that implies some kind of goal or an end, but it will always change as our set changes, and as I discover new pedals & sounds.

The Ash Gray Proclamation: How do you come to work with Eternal Summers over the years?

Doug Gillard: I met them when they opened for Nada Surf in 2012, and we exchanged music. They were gearing up to record a new LP, and asked if I would produce them. That became The Drop Beneath LP. They made 2 subsequent albums and keep getting better. Nicole Yun from Eternal Summers just completed a solo album and I play on a few of the songs. Its a really great record.

The AGP: What do you look for in a projects or bands you work with, weather producing or supplying instrumentation?

DG:I don’t know exactly. I have to like the songs and the vision or direction of the band. That’s a really subjective thing I know, so its just a vibe, generally.

The AGP: Since re-joining Guided By Voices in the summer of 2016 the pace of recording and Live performances has been unparalleled. Is that something you were prepared for going back in as full time member of GBV?

DG: I was to a degree! At that point, I think he felt rejuvenated a bit and started writing more frequently and knew that the band was now complete with no need to source outside people to do more experimental or prog colored side projects. Its all in-house.

The AGP: You recently played a set with Travis Harrison and Mark Shue in support of The Moles in New York City. Do you have any plans to record with that line-up or perhaps revisit ESP Ohio with Bob?

DG: I’m working on solo things, and have finished a couple here and there. I’d love to play more shows with Mark & Travis for sure. Bob hasn’t mentioned another ESP Ohio but we’re ready to do one if he calls one day and says he wrote that album. It was so much fun to do.

The AGP: Has your busy schedule afforded you the time to work on solo recordings for a future release?

DG: Yes, here and there. We have breaks, and when we’re not recording Guided By Voices records or overseeing a session for (Bob’s discovery) Cash Rivers & The Sinners (2 albums out now and available through Rockathon Records and Midheaven) there is some time to write and record.

The AGP: It’s been a little over two years since GBV played Boston, what can the sold-out crowd at the Sinclair expect from the bands anticipated return?

DG: We’ll be playing material from the upcoming 6-song EPs, at least 3 songs from Zeppelin Over China, several from Space Gun, and some ol’ fave chestnuts for a 2.5+ hour show. Wear your Depends™.

*Photo Credit: Ana Morales– Long Island City, Queens, NY

Guided By Voices – Space Gun [Review]

March 21, 2018 — Leave a comment

space gunHow does a writer stay objective when tackling the latest recording from an artist that he’s been passionately following for over 20 years? It’s arduous task no doubt, especially with the singular work ethic and output of Robert Pollard, but one I’ll happily embrace. Whether you are an obsessive that collects original pressings of Acid Ranch, Nightwalker, and Cash Rivers or merely a fan of the mid-90’s trifecta of Bee Thousand, Alien Lanes, and Under The Bushes, Under The Stars this latest collection requires your immediate and uninterrupted attention. The material found on Space Gun equates to one of Pollard’s best outings in recent memory and one that can sit proudly next to the band most revered recordings. A logical and exhilarating next step to last year’s How Do You Spell Heaven? and August By Cake.

With the news of Space Gun, also came the caveat that this would be the only Guided By Voices album released in 2018, a newsworthy event unto itself. Over past month or so, I have had the opportunity to really dig in to this LP and that decision seems warranted and necessary. It’s fair to assume that Bob has another album in the can but it’s telling that instead of rolling into his next side project or another GBV release he is exhibiting restraint to give the songs that occupy Space Gun their due. I recall reading that Matador had tried and failed to temper Bob’s release schedule during GBV’s 90’s stint with the label, I guess that goes to show us all, that only Bob can hold back the flood.

Normally on first exposure to a Pollard related release there are those tracks that jump out immediately and then there are the growers that slowly unveil themselves over repeated listening. With Space Gun nearly every song has immediate charms and considerable hooks. The album opens with the sound of an automatic hand towel dispenser before chiming guitars and strong rhythms take hold while Pollard delivers a commanding vocal on the title track and drives the four minute song headlong to a glorious conclusion with the refrain “ all day long…”. From there the album is off and running at a brisk pace before slowing slightly at the blissfully melodic and hook laden Ark Technician. The current lineup of Guided By Voices is a formidable one to say the least and they provide varied and charging instrumentation to accompany one of Pollard’s finest songs cycles. On Liar’s Box Pollard delivers in my estimation a standout on album full of standouts. A song that wouldn’t have seemed out of place on Universal Truths and Cycles or Earthquake Glue. The track begins with angular guitar lines, throbbing bass, and pounding drums before Pollard steals the show with a soaring chorus that proves to be the LP’s most euphoric moment, only to be heightened by a sensational closing guitar coda from Doug Gillard and Bobby Bare Jr. On Sport Component National GBV delivers a 3 part rock opera that distills Bob’s prog, psych and pop leanings beautifully into a 3 minute fist pumping anthem. Then comes That’s Good, a track that first came to light on GBV’s Suitcase 3 in its skeletal form, but on Space Gun the track is given the full band treatment complete with strings and the results are staggering. To my ears, the melancholy drenched track is a distant cousin to the GBV classic If We Wait with immaculate production, courtesy of Travis Harrison. Throughout this LP, Pollard leads this incarnation of GBV through a varied and exhilarating 15 songs in 39 minutes, but not a second is wasted. Space Gun is a herculean rock record that is equal parts power and beauty from the unparalleled creative force of Robert Pollard.

Order Space Gun from Rockathon