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Bob Mould is great. He reminds me of huge, high-ceiling rooms in summer time. His work with Sugar recalls a particular time at University when the sky seemed eternally blue, the world filled with opportunities. Anyone who loved "Changes", "Hoover Dam" and "If I Can't Change Your Mind" will enjoy Mr Mould's latest effort. He's still making polished alternative rock with cascading guitars and self-lacerating lyrics that take the listener white water rafting on deep rivers of emotion. He sounds a little hoarse on opening song "Stupid Now", which combined with a Pixies-esque bass line, makes him resemble Black Francis a touch. Of course, in reality it was Mould who influenced Black Francis and friends. "Who Needs To Dream" has the summery sound of old. It's no less welcome for its familiarity. The lyrics are simple, but make perfect sense in the context of the music. A couplet I particularly like is: 'I don't want to dream about the future/I only hope that I can make it to tomorrow."
"Again And Again" sees Mould dropping the pace, yet the emotional intensity is not lost. The strummed guitars bring to mind R.E.M. The lyrics take an unexpected film noir twist at the end: 'I took the bullets from the carport, tossed them in my backpack/Placed a set of keys inside the grill.' It's an unexpected narrative turn, considering the rest of the song details the near universal experience of a relationship break-up. There's a subtle electronic edge to "Old Highs, New Lows" in which Mould explores the 'beauty and radiant heat' you experience when you are in love with another. Sadly he cannot ignore the 'decay' that inevitably follows. Maybe it's an awareness that comes with age, but this theme is continued with "Return To Dust". Mould muses: 'Growing old, it's hard to be the angry young man'. That may be true, but it's the energy with which he rails against what is wrong in his world that gives his music such strength. "The Silence Between Us" is the single, and rightly so. There's a Pixies-style bass line overlaid with towering Sugar-filled guitars. The quiet/loud dynamic adds power. This could have been on Sugar's 1992 album Copper Blue. While some might criticise a lack of musical progression over 15 years, I find myself delighted to be transported to a place I left years ago. As if in response to the criticism that he's still the man he used to be, Mould presents us with "Shelter Me". It's a huge success with strange electronica-influenced sounds, a shuffling beat and vocoder-inflected singing. There are more vocal experiments during "Very Temporary" but they never detract from the enjoyment the song gives. "Miniature Parade" features electronic burblings, complementing the more traditional guitars. At times it sounds like Mould is collaborating with R2-D2, while a cello adds to the strangeness. Despite the unusual ingredients this is as exciting and captivating as anything he's done. The cello returns for "Walls In Time", which with its acoustic guitars lead us into R.E.M. territory again. It's just sad no one in the studio had a mandolin nearby. While it's tempting to say that District Line is just Bob Mould just being Bob Mould, in reality there's no 'just' about it. While the template might not be radically different Mould still sounds as fresh – and angry – as ever. There are enough sonic experiments to keep things fresh, if you are looking for innovation. I'm happy to 'just' hear him doing what he does best. I'm looking forward to hearing what Mould produces in 15 years time. |
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