guided by voices

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

The AGP’s Top Albums of 2019 [Belated Editors Edition]

February 8, 2020 — 1 Comment

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When I started to compile this list and reflect on the releases and events that shaped my 2019 the year was coming to an end and I for one couldn’t have been happier about that. In full disclosure in the early stages of working on this piece I put a playlist together and named it 2019 – Go Fuck Yourself. A bit low brow but a title that accurately surmises my sentiment for those 365 days that occupied 2019. In addition to some personal challenges I was faced with last year the world continued to deliver heartbreaking blows with the deaths of two of my all time favorite artists, David Berman and Daniel Johnston, respectively. But, as I was often reminded in 2019 there is power and catharsis in music and sometimes a great song can change your day and perspective in under 3 minutes, or less in some cases. 2019 was an exceptionally strong year for music and brought both new releases from long standing favorites, indie legends and exciting new acts that captured my attention and provided the soundtrack to a year that is gladly in the rearview. This list could have easily been expanded to 40 albums if not more, however these 20 records are the ones that I turned to the most, connected with, played loudly in the car, on long runs in the woods, and forced upon my friends and loved ones. Let’s try to see past the fact that It’s already February, better late than never I suppose.

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20. Gruff Rhys – Pang! (Rough Trade)
Former Super Furry Animals leader, Gruff Rhys follows 2018’s Bablesberg with a magnificent album of pastoral chamber pop about the decaying state of the world sung entirely in Welsh with production assistance from South African electronic artist Muzi.

Bandcamp | Stream | Rough Trade Records

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19 . The Black Watch – Magic Johnson (Atom Records)
The long running Los Angeles dream pop concern, The Black Watch issued yet another gem in a string of engaging, literate and infectious LP’s with Magic Johnson. Not even my east coast pro Celtics bias could deny the strength of this album and shimmering pop sounds within.

Bandcamp|Stream |Atom Records

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18. Sneeze – Fin (Midnight Warewolf / Tor Johnson Records)
Boston grunge punks, Sneeze first popped onto my radar in 2011 and I’ve followed along closely over the past 9 years as they’ve released a remarkably consistent string of releases. Fin follows 2016’s excellent Rot EP and finds the trio delivering there most varied and anthemic album to date.

Bandcamp | Stream | Tor Johnson Records | Midnight Warewolf Records

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17. Peyton Pinkerton – Ex Tomorrow (Darla)
The former New Radiant Storm King, Pernice Brother, and Silver Jew, Peyton Pinkerton returned this year with what has turned out to be my favorite of his solo offerings. Ex-Tomorrow is filled with intelligent and exquisite guitar driven pop songs. What more could you possibly need?

Bandcamp | Stream | Darla

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16. FCKR JR – I’m Sorry Mom and Dad (Born Yesterday Records)
Late last summer Ben Grigg (Geronimo!, Whelpwisher, Future Biff) unveiled the full length debut from his latest project, the fantastically named FCKR JR. A staggering blend of shoegaze, ethereal guitar lines, and considerable pop hooks. Slippercore is real!

Bandcamp | Stream | Born Yesterday Records

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15. Versus – Ex Voto (Ernest Jennings)
A very welcome return from a band I’ve admired since the early 90’s. Versus deliver this new set with finesse and refinement of a band that’s been at it for 3 decades but one that’s not satisfied to rely on their past accomplishments. Ex Voto is an infections and arresting LP that finds it’s creators sounding recharged and as vital as ever.

Bandcamp | Stream | Ernest Jenning Record Co.

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14. Horse Jumper of Love – So Divine (Run For Cover)
Boston’s slowcore concern HJOL made the move to Run For Cover Records for their 2nd LP and found the band pushing their sound into exciting new directions with a blissful marriage of beauty, sadness, and noise.

Bandcamp | Stream | Run For Cover

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13. Diiv – Deceiver (Captured Tracks)
On Deciever Zachary Cole Smith leads Diiv through their most accomplished song cycle to date, while adding a new density and a fresh coat of grime to the shoegazers sonic pallet, providing new vibrant texture to dark tales of addiction and recovery.

Bandcamp | Stream | Captured Tracks

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12. Christian Fitness – You Are The Ambulance (Self-Released) Cardiff’s Andrew “Falco” Falkous delivered his sixth LP, under the moniker of Christian Fitness with You Are The Ambulance and further solidified himself as formidable songwriter and grade A noisemaker. Flippant post-punk anthems filled with razor sharp wit from the Mclusky/Future Of The Left fronter.

Bandcamp

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11. The Astounds – Ancient Flying Ghosts (1262936 Records DK) A new record from Dean Wells (Capstan Shafts) is cause for celebration especially when said album is as good as Ancient Flying Ghosts. 10 songs in under 20 minutes for an euphoric lo-fi blast and oh so many hooks!

Bandcamp | Stream

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10. Possible Humans – Everybody Split (Trouble In Mind)
It took Melbourne’s Possible Humans 7 years to release their debut full length, Everybody Split. After self -releasing the album in Australia Everybody Split saw wider release this summer courtesy of Trouble In Mind Records. Recalling the blissful jangle of early REM, The Clean, and The Feelies while distilling those influences into a unique and engaging debut LP.

Bandcamp | Stream | Trouble In Mind Records

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9. J. Robbins – Un-Becoming (Dischord)
30 years deep into a remarkable career with bands like Jawbox, Goverment Issue, and Burning Airlines J. Robbins issued his first solo LP ripe with thoughtful and honest post-hardcore anthems.

Bandcamp | Stream | Dischord

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8. Brat Curse – Brat Curse (Anyway Records)
Columbus OH’ Brat Curse specialize in fuzzed drenched power pop and on their 2nd LP they deliver 12 infectious ear worms that seem to stick with me for days. This superb collection of concise and exhilarating mid-fi indie rock unveils a new favorite each and every visit.

Bandcamp | Stream |Anyway Records | Just Because Records

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7. Smug Brothers – Serve A Thirsty Moon(Self Released)
Smug Brothers’ creative force, Kyle Melton set up a home studio earlier this year and proceeded to record three new albums. Attic Harvest arrived in February then All Blur Spark was delivered in July, both of which are absolute gems and worthy of your attention. However, the material on Serve A Thirsty Moon seems like a step forward. A bit more anthemic, focused and affecting. This album has been in constant rotations since it’s November release.

Bandcamp | Stream

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6. Honey Radar – Ruby Puff of Dust (What’s Your Rapture?)
Philadelphia’s Jason Henn and friends delivered yet another satisfying and timeless album of hook heavy lo-fi pop with Ruby Puff of Dust. The latest offering sounds like it could’ve been easily released at any point in the last 30 years but as luck would have it came to us this year with quantum sized hooks and sweet melodies under a thick layer of tape hiss and buzzing guitars.

Bandcamp | What’s Your Rapture?

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5. Pernice Brothers – Spread The Feeling (Ashmont Records)
September brought the 1st new album from Pernice Brothers in nearly a decade with the 11-track, Spread The Feeling. The album features appearances from past Pernice Brothers alum as well as a stunning collaboration with Neko Case, but what keep me reaching for this album over and over is an exceptional song cycle from Joe Pernice, chock full of beautiful lyricism and striking melodies.

Bandcamp | Ashmont Records

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4. Pile – Green and Gray (Exploding In Sound)
For the past 12 years Boston’s Pile have delivered 7 LP’s of arresting post-punk while somehow upping the anti with each release. Green and Gray follows 2017 excellent A Hairshirt of Purpose and takes yet another step forward in the evolution of the band’s sonic capabilities. Rick Maguire delivers a stunning song cycle throughout Green and Grey while leading Pile through a well-balanced album filled with jagged noise and striking melodies.

Bandcamp | Stream Exploding In Sound

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3. Hallelujah The Hills – I Am You (Self-Released)
The three years it took for Hallelujah The Hills to follow up 2016’s A Band Is Something To Figure Out was in fact well worth the wait. Who knew while Ryan Walsh was promoting his exemplary first novel, Astral Weeks: A Secret History Of 1968 he was also hard at work along with his band mates crafting Hallelujah The Hill’s flawless new LP. I Am You contains quantum sized hooks, accomplished and varied instrumentation, as well as Walsh’s greatest lyrical contributions to date. A masterful LP from start to finish.

Bandcamp | Stream

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2. Guided By Voices – Zeppelin Over China / Warp and Woof / Sweating The Plague (GBV Inc.)
2019 was the year a perennial favorite delivered 3 exquisite LP’s in a 12 month span and provided the arduous task of picking a favorite. Zeppelin Over China is a 32 song monster and arguably the crowing achievement from Robert Pollard’s most recent and technically proficient line up Guided By Voices. May I refer you to Your Lights Are Out? A personal favorite from an album choc full of life affirming rock songs.


Stream

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Guided By Voices – Warp and Woof (GBV Inc.)
Compiling tracks released on 4 EP released between 2018-2019, Acid Rock, Umlaut Over The Ozone, 100 Doug’s, and Wine Cork Stonhenge. If you think it’s just another in the long line of Robert Pollard releases or an odds and sods collection you’d be dead wrong. Warp and Woof is a superb LP and one of Guided By Voices most varied and infectious albums in recent memory.


Stream

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Guided By Voices – Sweating The Plague (GBV Inc.)
As I mentioned in a recent review Sweating The Plague contains some instant ear worms, but the tracks that really satisfy are the songs that reveal their greatness and subtle complexities over repeated listens. All three of the albums Guided By Voices released this year offered an overabundance of riches and each further proves Bob and this exemplary line up of musicians continue their hot streak but on Sweating The Plague, GBV goes all in on a menacing and gargantuan rock record that gets better with every visit.

Bandcamp |GBV.Inc ~ Rockathon Records |Stream

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1. Purple Mountains – Purple Mountains (Drag City)
The fist time I heard this album it struck me to my core. Delivered in mid-July, Purple Mountains marked the return of David Berman after walking away from Silver Jews and music entirely in 2011. After David’s tragic suicide in August it took me a lot of time to return to this devastating and beautiful record. These 10 songs are his final artistic statement and in the aftermath of his death they hold even more weight and insight into David’s struggles. It’s remarkable that he was able to pull this off while in the grasps of such debilitating demons. Purple Mountains is outright masterpiece and I don’t throw that M word carelessly or often. In this case it’s completely warranted, but I like many others would give it back in second to change the course of his tragic end. DCB Forever and ever.

Bandcamp |Drag City Records |Stream

Honorable Mention: Pavlov’s Puss – Comfort Food | Halfsour – Sticky | Titus Andronicus – An Obelisk | The Gotobeds – Debt Begins at 30 | Kal Marks – Let The Shit House Burn Down Starflyer 59 – Young In My Head |Pedro The Lion – Phoenix | Mike Krol – Power Chords | Lud – Yellow House Trigger Cut – Buster | David Kilgour & The Heavy Eights – Bobbie’s a Girl | Uranium Club – The Cosmo Cleaners

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

Back Chorus: A Conversation With Tobin Sprout

October 23, 2019 — Leave a comment

TobinSproutandBand2017

Over the past few months I have had the pleasure of corresponding with Tobin Sprout. The musician, songwriter, illustrator, surrealist painter, and former Guided By Voices member was incredibly generous with his time and was willing to field my questions on his upcoming music and art projects. He shared some thoughts on the now 25 year old Bee Thousand, his former bands 1994 masterpiece and we even chatted a bit about his short lived but superb band, Eyesinweasel.

The Ash Gray Proclamation: Last summer marked the 25th Anniversary of the release of Bee Thousand. How do you feel that the album stands up after all these years?

Tobin Sprout: I think it’s as strong as ever. B-1000 could come out today and sound just as relevant as it was in the 90’s. Time makes the masterpiece. I think a lot of the music today draws from this album.

The Ash Gray Proclamation: When is the last time you listened to it?

Tobin Sprout: It’s been awhile. I will have to sit down and listen to it.

The Ash Gray Proclamation: What was the one song on the album that you enjoyed playing Live the most?

Tobin Sprout: I think we played everything on the album at one time or another. Queen of Cans and Jars, love the riff. Tractor Rape Chain has that chord slide that’s hypnotizing. Smothered In Hugs just pounds power chords, its getting louder. I still play Awful Bliss into Mincer Ray in my sets, love playing those too. Mincer Ray I just play a D most of the time, the bass carries the rest. Echos Myron was always a great one to play live. On a lot of the album I used a guitar to play bass, and EQ the 4-track to give it more bottom. That’s how I recorded the end of Echos, it was easier to hit those notes on guitar than a bass. I think we just didn’t have a bass available at the time. I guess the one I liked playing most was I Am A Scientist, I think it was the hit and the one that really got the crowds up, loved the video too.

The Ash Gray Proclamation: Over the last year I’ve seen that you’ve been recording new material. What can you tell me about those tracks and plans to release your next album?

Tobin Sprout: I have an EP and an album pretty much finished. Working on getting a label right now. The EP will come out first, it has a remixed version of Supersonic Chairman and 3 other songs. It’s more guitar driven than the LP. The LP will be called Empty Horses or The Return. Its very piano driven, and a bit darker than the EP. It was recorded mostly with my Band at Tommy Schichtel‘s Studio Goon Lagoon in Grand Rapid. Tommy on lead guitar, Gary Vermillion on Drums, and Steve Vermillion on bass. Also did some of the recording at my studio in Leland Mi. A song called Every Sweet Soul was recorded by Ferris Henning. Ferris also did a video for the song. Hope to get the EP out before the end of the year. The Album will come out next year. Then hope to tour it.
More to come!

The Ash Gray Proclamation: Can you tell me a little bit about your current art related projects and/or a follow up to your children books, Tinky Put His Little Moon To Bed and Elliott?

Tobin Sprout: My Wife Laura is also an artist, she does 2D and 3D mixed medium. Uses old magazines and found objects. She calls it Life In A Box. She just had her 4th show at the Old Art Building here in Leland. We also do collaborations, where she gives me a box and some found pieces and I Paint something on the box and give it back to her to add something. It’s interesting to see how the original Idea changes into something different.She also has written a follow up to Tinky that I am going to illustrate. Elliott is out of print, but I plan to re edit it and make it available on Kindle, along with another book I wrote before Elliott called April and Elliott. Still painting and might release a booklet with the EP of my paintings.

Tobin

The AGP: What was the creative process like behind the new releases?

Tobin: I worked with the band as much as possible. Mostly at Tommy’s studio in Grand Rapids. I would send demos to Gary and Steve so when we meet at Tommy’s they would have ideas and had worked out the structures. Tommy would be placing mics and running the tape machine so would add his parts later. It also gave him time to think about his guitar parts. Once we have the basic tracks, I would add vocals and overdubs. By the next session Tommy would have his parts recorded, so we would spend time adding whatever we felt was needed then mix. At one point we also brought in Drew Howard to play pedal Steel on Breaking Down and All In My Sleep.

The AGP: As you mentioned the album is more piano driven than the EP, so I’m wondering if you had a vision going into the studio and how does the recording match up with that?

Tobin: I don’t think I had a vision but the album just grew into two different albums. About two thirds of the album worked really well together which stayed on the final album. And the others were put on the EP. Not that one was better than the other. The album is more darker piano along with a few simple acoustic pieces. Where the EP is straight up two guitars, bass and drums.

The AGP: I was in attendance for The Cambridge, MA Eyesinwesel show that ended up being captured and released as Live In The Middle East on that tour and to me there was something very special about that line up that night performance. What comes to mind when you look back at that creative period, those two releases, and the subsequent tour?

Tobin: Gary and Steve (Vermillion) were in the band then, might have been the first tour with them. Don’t remember it being one of our better shows but it seems to be a favorite of a lot of people. It was recorded by the CBC from a mobile recording studio. It was recorded digitally to tape.

*Live Photo of Tobin Courtesy Of Mike White

Thanks again to Tobin for the time and for the follow up to our 2010 interview.

The AGP Top 25 of 2018

December 12, 2018 — 1 Comment
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A trying year politically delivered an incredibly strong year in music. With  excellent albums by some established favorites like Guided By Voices and Superchunk as well  formidable releases from rising acts such as Twin Foxes, Darklands, Ovlov, and Kal Marks we had plenty of sonic splendeur to keep us chugging along. In our first installment of 2018 in review we take time share some our favorites of the year. Most of these are available on Bandcamp, so if there something here that lands in your wheelhouse please consider supporting these artists in any way you can.

*Photo above taken at AS220 in Providence by Eleanor Dean

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