Built to Leak Review “When the Wind Forgets Your Name”

In Bellingham: Death Cab for Cutie’s first two albums (one as a solo project, one with a band) were purely designed for the flow of cult. In an interview with viceGibbard noted that the only thing he was listening to while working was in 1998 Something about planes I was Perfect from now on. “There is some blatant manipulation in this record,” he admitted.

In Issaquah: Isaac Brock formed the humble mouse a year after Built To Spill came out, but his guitar playing style was actually shaped by watching Martsch playing. Brooke told Los Angeles Times About the initial launch of Modest Mouse versions.

At Olympia: Guitarist James Bertram joins the short-lived but influential post-hardcore band Lync. Their only album, PNW Classic Cold These are not fall colors, has influence from fellow Olympians Unwound, as well as Fugazi and Drive Like Jehu, but Lync takes a more subtle approach. You can hear the echoes of Martsch’s perverted pop sensibilities in both country and vocals.

In Seattle: Pedro The Lion, and later, Band of Horses, both teams whose early scoring have Marstch prints all over their fretboards.

and so on.

Built To Spill has become a gigantic, independent rock support column that holds a key corner of the Pacific Northwest Sound. Martsch slowed the pace of releases, extending the gap between records to five or six years without completely disappearing. Writing the template for many aspiring assistants must get cumbersome after a while.

and on When the wind forgets your nameBuilt To Spill’s first album of new material since 2015 Unbound MoonMarch looks exhausted.


When the wind forgets your name It is the band’s first album for Sub Pop after spending more than two decades at Warner. The shift away from the masthead did not result in a massive shift in sound: the album largely followed the lead Unbound Moon Featuring “Live Zoo”. “Being human/Being also an animal,” March trembles over small major acoustic guitars, and Neil Young’s character looms massively and shimmers in the horizon like a singing cowboy meme.

Neil Young has always been an obvious, if understated, focal point for March, in part due to their love of unusual guitar solos, and in part due to the similarities in their vocal timbre. It’s known that among the many famous covers of Neil Young’s “Cortez Killer” – Dave Matthews, Slynt, Matthew Sweet, Grace Potter and Joe Satriani – it’s Built Two Spill’s that became iconic. On the 1975 album Young and Crazy Horse, Zuma, the song is a shaggy loafer lasting about seven and a half minutes. Built to spill a cover, immortalized on the 2000 live album titled Simply He lives, removes the 20 minute mark. Young’s version has been praised by many rock bands for having one of the greatest guitar solos of all time; The Built To Spill edition contains nearly half a dozen better solos.

Neil Young’s influence is more present than ever When the moon forgets your name. The album is warm and inviting, if a little sleepy. Solos are economical by Built To Spill standards, not triangular interlocking slopes Keep it like a secret Or the unrestrained instrumental syllables, eyes on the sky from Perfect from now on. jingle guitars. There is real fame to her.

The Built To Spill rotating lineup has been rotated again, although you’ll be forgiven for not being able to speak just by listening. on me When the wind forgets your nameMarch accompanied by Lee Almeida and Joao Kisses, members of the Brazilian jazz and rock band Oruã. “I was a huge fan of the productions they did in Oruã, [singer Lê Almeida’s] “Weird stuff, but doing things with filters or speeding up/slowing down the tape — experimental, almost like collage production,” March told Inlander. Whatever textures March heard in the music of his new bandmates, they don’t seem to have translated into his own songs. This album, like many Built To Spill albums before, was largely the product of Martsch’s work on his own, and it looks like it is. New March’s vocals echo: the rest will be familiar to anyone who’s heard the band in the past two decades.

The album contains several moments of relaxing pop that feels right at home There is nothing wrong with love. In the centerpiece of the “Spiderweb” album, Martsch strikes the perfect balance between Americana gangly music and rocking guitar play. “Spiderweb” looks like a bridge between TNWWL And the PFNOAttractive and ambitious. The opener “Gonna Lose” occupies the same space. Its two-and-a-half minute runtime and horrible pitch-sized slots sound like a cousin to the Twin Falls punch in “some” on TNWWL. Both songs are instant classics.

However, “Gonna Lose”‘s sultry energy feels like a chore when followed by “Fools Gold,” a song that sounds tired enough to flirtatiously. March faintly sings “I’ll keep trying,” but sounds like someone who has just stopped trying.


On the twentieth anniversary of Old future melodiesStereogum’s Chris Deville wrote, “As someone who fell in love with Built To Spill when old melodies It was their latest album, I remember feeling like fog hung over these songs, like it was the sound of a great band on autopilot.” When the wind forgets your name Felt eerily reminiscent of that era.

Marstch, in 2001, speaking to Detroit Times“Part of it is that when we hit that last record, we really felt a kind of routine. Which was kind of nice, because it wasn’t very stressful. That kind of made it fun, but it also made me think I should try to do something different.” …I think if you’re comfortable with what you’re doing, it probably turns out to be bad.”

Martsch, last month, speaking to Inlander: “Well, creatively, I didn’t feel inspired at all; I felt a bit closed off and didn’t have a lot of creative ideas flowing… I didn’t have a lot of fun making that record. It’s fun being in a vacuum to work on by myself. I didn’t feel much inspired, but I did the work and got it done.”

Get the work done and get it done.

There is a straightforward and exhausting simplicity to these songs. Martsch has never been more, or more focused on one topic: trying to find inspiration, and failing. Songs are generally recorded in a short time (by Built To Spill standards) of four to five minutes; Only the closest album “Comes A Day”, which will become a staple in life, makes any time in a long jam.

The album derives its title from a lyric in “Elements,” a song of elements with wonderful sounds that culminates in the almost depressing conclusion: “Above the stars/Higher in the sky/Another awe-inspiring world/And I no I don’t know/Exactly what that means/But I love The way the sound sounds.” The song literally fades into the sound of the lapping waves, removing whatever the band was trying to build. There is a beautiful and strange world out there, but there is no way to know what any of it means. Castles in the sand disappear as the tide rises.


In a 2015 interview with GQMarch described his writing process as melody first and lyrical content last:[T]His words are the last thing I write. I pretty much have the song ready to go, I know all the notes and the meter, and then I sing a few words… It’s not my favorite part of doing these things. But I take it very seriously. I’m still trying to get the words into the melody until something clicks. Bad words can ruin a good song… There are probably two songs in our careers like, “That’s what this is about.” Most of them are on interpretation.”

March has always been adamant about this: In his words, his only goal is to make sure they “are not too stupid.” This seems like a deviation from the one who wrote lines like “You’ll have the opportunity/Disassemble the world/Find out how it works/Don’t tell me what you find out”, or the six-minute opus “Immortality Described Randy”, in which the narrator does his best to express the enormity of the infinite eternity. Understood and does an amazingly good job.

words on When the wind forgets your name Much clearer than Martsch has been in years—maybe ever. So absorbed in the frustrating not knowing of the universe, it seems, that after decades of living, life has not yet begun to form a coherent picture. It is put more explicitly in “Come Every Day”: “You’ll never know because you’ll never know what’s real / We’re all paralyzed with life.” This is it choir.

“Rocksteady” is a bouncy homage to Martsch’s love of ska and reggae. The song has a bit of realistic rock and a lot of childish, heart-wrenching musings about the universe suddenly collapsing to the ground. “God helps no one at all/He is too busy to work in mysterious ways,” said March, “Geometry and trigonometry/I don’t know what you mean/But I don’t know any of this/It will help with all this pain.”

“Never Alright” is a song about being never well. The song that follows, “Okay,” is ostensibly the hopeful reactive response, but March can’t even make it to one song without exhaustion creeping in again: “Life goes on and year after year / I don’t recommend it but I’m glad I’m still here.”

It’s an emotional punch, a grim resignation. March was always telling us what the universe believed. This time, he seems to be saying, “That’s what it is.”


Despite the foreboding that darkens the corners of these melodies, When the wind forgets your name It is the best thing Built To Spill has launched in a decade.

I’ve given a lot of thought to arranging this album in the Built To Spill catalog. Maybe I’ve gotten older and more difficult and predictable, or maybe years of love and listening to Built To Spill have solidified my mind, but it seems inevitable to escape from There is nothing wrong with love Across Keep it like a secret Untouchable, the peak of the band that – understandably – will never be reached again.

The narrative around the band’s post-2000 material has calcified through album reviews and previous reviews: Old future melodies Slight, nice but insignificant view of a bar running out of gas. You are in the opposite direction It’s a slack, meandering left turn, hailed at the time as a return to form, kicking some big ass despite slouching under the weight of aimlessly extended jams. There is no enemy is the true return to the format where the band’s sounds are actually activated, and Unbound Moon It is a charming pop surprise released with little fanfare after a six-year hiatus.

Out of those four, I think only You are in the opposite direction And the There is no enemy It’s obviously better than When the wind forgets your name.

It’s funny: I love the quirky little pop There is nothing wrong with loveAnd I enjoy the parts of this album that evoke this style. What excites me most about the album, though, is imagining what the band does with the Comes A Day livestream. I actually imagine this song ran 12 or 13 minutes, full of extended jams and sloppy solos.

I can’t tell if it’s because I’m finally old enough that my fond memories of the band are more important to me than what the band is currently doing (a fate worse than death), or if it’s because of the sounds of March being activated in “Comes A Day” . He is tall but energetic, lyrically dreary but musically energetic. It’s a reminder that, whether the mystery of the night sky raises eyebrows or dreads March, the light that saturates the music of Belt to Spell exits the process, not the conclusions.

The album, like Martsch, is a little disheveled and unassuming, but that’s the way he wants it. He’s not trying to convince you. He tries to make something that he likes, because he loves music. The rest of us who love music are lucky enough to reap the reward.

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