Untethered Moon Built To Spill

• 1All Our Songs06:15
• 2Living Zoo04:23
• 3On The Way04:26
• 4Some Other Song04:27
• 5Never Be The Same03:15
• 6C.R.E.B.04:21
• 7Another Day03:11
• 8Horizon To Cliff02:44
• 9So04:28
• 10When I'm Blind08:24
• Total Runtime45:54

Info for Untethered Moon

Twenty years on from first signing to Warner Bros. Records, Built To Spill is set to return in 2015 with its eighth studio album, Untethered Moon. That’s now two complete decades that one of America’s leading “indie rock” bands has happily made its home on a major label, and in the process redefined that clumsy descriptor of independence by operating wholly and consistently under its own steam, taking the proper time to craft timeless songs and playing endless, epic shows to a growing grip of fans each year. Under the command of its constant leader, Doug Martsch, as well as a new rhythm section, Built To Spill’s creative process continues to ebb, flow and evolve in its own orbit, reemerging on record for the first time since 2009’s There Is No Enemy with ten new songs that fit at once into the band’s resonant catalog while infusing fresh energy into that signature sound.

In the summer of 2012, Martsch and his longtime bass player Brett Nelson and drummer Scott Plouf recorded an album’s worth of new songs and then went on tour. Martsch was unsatisfied with his performance on the recordings, feeling that he had had too few “eureka moments” in the studio and planned to tweak his parts after tour. Then, citing tour burnout, Nelson and Plouf quit the band, leaving Martsch to scrap the recordings and essentially start over. Adding longtime musical comrades Jason Albertini on bass and Steve Gere on drums, and along with guitarists Jim Roth and Brett Netson, the new Built To Spill emerged a month after reforming to play more shows in 2013 than any other year in the band’s existence. Energized by the new blood as well as marathon rehearsal sessions, Martsch decided to revisit the recording process as a trio, without the other guitar players. “With fewer people it’s easier to focus and communicate during the songwriting process,” says Martsch. “Also we wanted to make the record a little more stripped-down, a little rawer than our last one.”

Over much of the next year, the band would travel to Portland, Oregon, to record with producer Sam Coomes, the Quasi founder whose keyboard playing appears on several earlier Built To Spill albums. “Working with Sam was awesome. He would come to rehearsals and take notes and record us on various little devices. He had ideas for the songs, structural changes, and things like that, but most importantly, he was enthusiastic. We had rehearsed a ton and were maybe losing perspective a little, so to have someone we admire and trust telling us we were on the right path was huge. He also shared our vision of leaving out shit that’s not necessary.”

Acknowledging the intricate, bombastic drumming from Gere and Albertini’s effortless ability to “keep it in the pocket and move the song along,” Martsch found inspiration and confidence. He completed the songwriting with his usual method of piecing together scraps of guitar and instrumental parts from tapes of jams from previous eras of creation, along with the easy cohesion of the trio on new material, which they had practiced and demoed endlessly before setting foot in the studio.

“When we get together and pick up our instruments, I always believe that something magical is going to happen. And it often does, but it’s a magic that maybe only we can feel, in the moment, and doesn’t necessarily translate to tape or to other people. So we keep messing with it until it feels like real music to us. The songs evolve over a long period of time through trial and error. There’s a lot of ideas that don’t go anywhere, and it’s just a matter of leaving them out and including the things that work.” Whether a call by Coomes to abandon a trumpet in favor of a tripped-out guitar, or a killer drum beat evolving from a simple exercise pattern, or even a coincidentally connected artistic inspiration from Alejandro Jodorowsky, the tarot and a photograph of pets, there was no shortage of eureka moments during the making of Untethered Moon.

The album begins with the hard-hitting trio of “All Our Songs,” “Living Zoo,” and “On the Way,” songs that are as complex and compelling as anything on previous Built To Spill outings. Ripping solos, warm tones, vague and familiar Martsch themes of subconscious connection, human commonality and memory, Neil Young influences—it’s all there. “Never Be The Same” is a song from Martsch’s past, redone and encouraged by Coomes, while “C.R.E.B.” is a meditation on the scientific process of forgetting. The album ends with the eight-minute standout “When I’m Blind,” with solos echoing in and out of a drum-tight jam held down to perfection by the new guys. All in all, it’s the unmistakable sound of Built To Spill, but with a new energy that hearkens back to Martsch’s beginnings all those years ago in Twin Falls, Idaho. Two decades on a major label and even more as a successful musician, the fire and focus haven’t changed for Martsch in the least. “We like making music and that's why we do this. Of course if everyone else hates this record, we’ll be bummed. We are trying to make music that people will enjoy.”

Doug Martsch, vocals, guitar
Scott Plouf, drums
Jim Roth, guitar
Brett Nelson, bass

Produced by Doug Martsch, Sam Coomes

Built To Spill
When Built To Spill wanted to find out what their music sounded like they locked themselves in Doug Martschs garage. Without a tentative conclusion or even a hypothesis the four members began to experiment. Their collaborative efforts lasted seasons and yielded dozens of hours of ADAT tape. The album You In Reverse documents the newest branch of Built To Spills chaotic, yet elegant evolution.

Doug Martsch formed Built To Spill in 1992. His intention was to sustain a project that would involve a rotating cast of musicians to record albums and tour. The first incarnation of Built To Spill included Doug, Brett Netson, and Ralf (Youtz). Recording in the middle of the night in order to get free studio time, they assembled 1993s Ultimate Alternative Wavers. For a few years and a few records band members came and went. In 1996, while recording the album Perfect From Now On (their Warner Bros. Records debut), Doug found a rhythm section he could not relinquish: Brett Nelson and Scott Plouf. This line-up toured and made records with additional guest musicians Brett Netson and Sam Coomes. In 1999, after the release of Keep It Like A Secret, Jim Roth joined the band as live co-guitarist.

In the five years since the bands most recent effort Ancient Melodies Of The Future was released, Built To Spill took an eighteen-month vacation. When the group returned to work, the line-up included Jim Roth as a core member. This foursome started jamming and recording their hours-long musical explorations. According to Doug, they had no idea what kind of music they wanted to make.

You In Reverse arrives as the most collaborative record in the bands thirteen-year history. To a large extent, each musician wrote his own parts. Half of the finished material incorporates segments the band wrote together during jam sessions.

Doug did bring in a few songs ready to go. Tracks like Liar and Saturday were pretty much there when the band learned them, while Goin Against Your Mind and Traces are full of riffs discovered during musical research. Dougs private writing process then allowed him to meld favorite spontaneous moments with composed transitions and intricate melodies.

With a batch of songs in hand, the goal became to keep the recording simple and stripped down. The band wanted to retain the impromptu, organic feel of their jams. Rather than Dougs former reliance on extensive overdubs, the group tried to capture loose and live moments, letting each individual musicians talents be more accurately represented. Instead of a broad, atmospheric sweep, this record sounds natural. It resonates with relationships, the way the band as a whole responds to music and to each other. Being the new guy, Jim Roth appreciated this approach. To Jim, they were striving to see what the band could be, the four of us. Now we can see the potential. These new songs are just starting to scratch the surface. Expressing his connection to music as that of both craftsman and artist, he considers each composition to be like a painting or a sculpture, its own thing.

As a discrete creation the record relies on more than good chemistry and Dougs expansive writing. The band decided to self-produce in order to put themselves in a new situation. Similar to the generative process, they felt a need to try something different. Just to see what would happen, Doug admits, Ive made enough records to know I could do this. Also, engineers take pride in their work and would not let it be too fucked up. When they chose Steve Lobdells Audible Alchemy studio, they happened upon another element of the album. Steve, being the musical person he is, just fell into the role of co-producer, Doug says, then recants, Its not even really produced. Its cleanly recorded and mixed. Its not slick.

At Audible Alchemy, they wound up chasing a 1960s sound. Sonically, Doug says, We wanted it to sound like classic rock or soula piece of vinyl. Both Steve and engineer Jacob Hall are audiophiles who love old records and are into those sorts of sounds. They used analog recording equipment and spent hours listening back to tracks for the smallest nuances. Steve (a member of Faust) also played space echo, guitar, vibes, and percussion on the record. He understood the songs and their parameters, making specific and well-considered contributions.

Other guest musicians include Quasis Sam Coomes on organ and longtime Built To Spill contributor Brett Netson on guitar. Partway through the making of this record, Netson officially joined Built To Spill as their fifth member and played guitar on three of the songs. His mind-melting solo on Just A Habit will remind longtime Built To Spill listeners of the amazing lead guitar tracks he laid down for Perfect From Now On.

When Doug is asked what he wants people to know about the album, he replies, I would rather not manipulate peoples opinions about it. Bassist Brett Nelson thinks this record is what everybody in the band would want it to sound like. Brett also mentions the different styles of songs, anything from New Wave to Reggae breakdowns. While many influences and song structures arise and dissolve, none dominates the overall force of the album.

The songs are haunting rather than catchy. Each musical thought is surprising and complete. Dougs lyrics hint at politics, but could also be personal. As usual, the words lining the songs are neither directive nor dogmatic. Rational thoughts are constantly sacrificed to the metric and melodic needs of each song. No message blares forth. And yet, its understood.

This album contains no booklet.