Built to spill

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被紐約時報贊賞為做音樂如同吉米罕醉克斯和艾力克萊普頓一樣具影響力的Doug Martsch領(lǐng)軍倍受推崇的Indie Rock樂團(tuán)，每位團(tuán)員如同音樂頑童般，制造出時而簡約自然、時而喧囂狂噪、時而有趣生動、時而加長篇幅的玩弄音樂變化可能性，Built To Spill從讓你發(fā)噱的內(nèi)頁合成圖片開始，已緊緊扣住你的注意力，想要一窺內(nèi)文究竟！ 組成于美國西雅圖的The Treepeople在發(fā)行多張專輯后，仍無法激起亮眼銷售紀(jì)錄，其中團(tuán)員Doug Martsch選擇脫隊與貝斯手Brett Nelson、鼓手Ralf Youtz三人另組起B(yǎng)uilt To Spill。1993年首張獨立廠牌發(fā)行之「Ultimate Alternative Wavers」作品，貝斯手Scott 及鼓手Ralf 輪番出走，換上Brett Nelson及Andy Capps頂替。 1995年簽入華納音樂集團(tuán)，不同于其它簽約藝人，Built To Spill有絕對專輯操控權(quán)，Doug同為整體操盤要角，團(tuán)員仍經(jīng)過小幅動蕩，接連1997-2001年問世「Perfect From Now On」、「Keep It Like A Secret」、「Ancient Melodies Of The Future」等三張專輯，全數(shù)打入美國流行榜單中，隨后多才多藝的Doug單飛不解散拱出個人專輯「Now You Know」，以藍(lán)調(diào)及民謠基調(diào)為主軸，加寬樂迷對Doug認(rèn)知的音樂視野。 2006年以Doug、Brett與鼓手Scott Plouf、吉他手Jim Roth四人新組合再出發(fā)，「You In Reverse」大碟仍以Doug為中心點，加上所有團(tuán)員的齊力制作，邀來昔日隊友Brett Netson注入精湛吉他功力，曾任Indie Rock樂團(tuán)Heatmiser以及Quasi的Sam Coomes負(fù)責(zé)風(fēng)琴部分，前衛(wèi)迷幻樂團(tuán)Davis Redford Triad中領(lǐng)導(dǎo)人物Steven Wray Lobdell精采獻(xiàn)出多方演奏才能于專輯當(dāng)中。長達(dá)近九分鐘的”Goin’ Against Your Mind”，導(dǎo)入前衛(wèi)迷幻/Space Rock色彩，Doug渲染力夠的嗓音，一再導(dǎo)入樂曲新格局，更有著層次分明精采演繹，是首讓人大呼過癮的稱職開場曲；輕愉新民謠式動人之作”Liar”，流露順暢節(jié)奏以及簡單易吸收的旋律鋪陳；大肆展現(xiàn)團(tuán)員間樂器演奏技能與默契搭配，吉他伴隨人聲的和諧度，”Where You Go”中像似每組音樂橋段，反以樂器調(diào)和之氣流呈現(xiàn)一次次的強(qiáng)烈情緒反應(yīng)；首波主攻”Conventional Wisdom”雖與前曲相同皆為六分余鐘長篇幅之大作，卻大量反透其中更為明亮鼓動耐人聆聽之樂曲編入，與開場曲有著前后呼應(yīng)之感；”The Wait”迷人到不行的優(yōu)質(zhì)小品，原本以為可舒舒服服聽到最后，但在曲末卻以低傳真喧噪方式作結(jié)尾，大大令人吃驚之余，也佩服Built To Spill實驗融合之精神。

by Steve Huey

Built to Spill was one of the most popular indie rock acts of the 90s, finding the middle ground between postmodern, Pavement-style pop and the loose, spacious jamming of Neil Young. From the outset, the band was a vehicle for singer/songwriter/guitarist Doug Martsch, who revived the concept of the indie guitar hero just as Dinosaur Jr.s J Mascis — another important influence — was beginning to fade from the limelight. On record, Martsch the arranger crafted intricate, artfully knotted tangles of guitar; in concert, his rough-edged soloing heroics earned Built to Spill a reputation as an exciting and unpredictable live act. Much like Pavement, Martschs compositions were filled with fractured song structures and melodies, often veering abruptly into new sections with little attention to continuity or traditional form. (In fact, the difficulty of Martschs songs helped force him to abandon his original intention of working with many different lineups, since the twists and turns were difficult to master.) His lyrics had all the loopy wit and pop culture references of many a 90s slacker icon, but Martsch changed things up with a genuine wistfulness borrowed from Mascis and Youngs more introspective moments. Unlike Pavement, Built to Spill was never hailed as rocks next great hope; they were neither as revolutionary nor as eclectic, and their music — with its winding instrumental passages and less immediate construction — required more effort to absorb. Instead, they remained even more firmly underground, where their unorthodox approach enjoyed tremendous support from the indie faithful.

Built to Spill was formed in Boise, ID, in 1993, shortly after Martsch had departed the Boise-rooted, Seattle-based Treepeople. Martsch had grown up in Twin Falls, ID, where he formed his first band, Farm Days, with bassist Brett Nelson and drummer Andy Capps while in high school during the mid-80s. After moving to Boise, Martsch hooked up with former members of the local hardcore punk band State of Confusion to form Treepeople, which relocated to Seattle in 1988. There they signed with the local indie C/Z and issued several albums and EPs that offered a distinctive take on early Northwestern grunge. Eventually tiring of the bands far-ranging touring commitments, Martsch departed after 1993s Just Kidding album, and despite the continuing boom of the Seattle scene, he returned to Boise to refresh himself.

Martsch formed the first incarnation of Built to Spill with bassist/guitarist Brett Netson (also a member of Boise scenesters Caustic Resin) and drummer Ralf Youtz. Initially maintaining a relationship with C/Z, Built to Spill debuted on record in 1993 with Ultimate Alternative Wavers, on which Martsch billed himself as Dug. Afterward, Martsch moved the band over to another Seattle indie, Up Records, and revamped the rhythm section, in keeping with his plan to make Built to Spill a loose aggregation that would allow him to work with a variety of musicians. This time, he was joined by bassist Brett Nelson (not Netson, but his old cohort from Farm Days) and drummer Andy Capps (also from Farm Days, whod joined Nelson in a group called Butterfly Train).

Accompanied by cellist John McMahon and guest spots from several ex-Treepeople, Built to Spill scored a creative breakthrough with 1994s acclaimed Theres Nothing Wrong with Love. With the help of producer/engineer Phil Ek, who would become the bands regular collaborator, Martschs fragmentary songwriting aesthetic and detailed arrangements really hit their stride, resulting in a minor gem of quirky indie guitar pop. The same year, Martsch formed a side project with Beat Happening frontman and K Records honcho Calvin Johnson, and they recorded the first of three albums as the Halo Benders. Martsch formed a new lineup of Built to Spill with former Lync rhythm section James Bertram (bass) and Dave Schneider (drums), but this incarnation existed only for a series of live gigs in America and Europe during 1995, which included a stint on the second stage of that summers Lollapalooza tour.

The positive response to Theres Nothing Wrong with Love — coupled with the increased exposure of Lollapalooza — helped create a buzz around Built to Spill, and before 1995 was out, Martsch inked a deal with Warner Brothers that promised a good amount of creative control. In the meantime, he and Brett Nelson reunited with Brett Netson and several other members of Caustic Resin for a collaborative (not split) EP on Up, titled Built to Spill Caustic Resin. In early 1996, K Records issued a compilation of rarities and outtakes, The Normal Years, that spanned 1993-1995 and featured work by most of the bands lineups. Martsch then turned his attention to recording Built to Spills major-label debut. At first, he started working with drummer Peter Lansdowne and no bassist, but found that the chemistry was wrong for the more expansive songs he was trying to write. He brought back Brett Nelson and recruited former Spinanes drummer Scott Plouf, and re-recorded most of the album, only to have the master tapes damaged. The third re-recording was the charm, and featured guest guitar work by Brett Netson to boot. Finally released in 1997, Perfect from Now On was a set of longer, moodier songs that once again earned positive reviews, and substantially expanded the bands growing fan base.

Tired of continually reteaching the bands repertoire, Martsch subsequently made Nelson and Plouf permanent members of Built to Spill. Material for their next album was, for the first time, worked out through collaborative effort — mostly full-band jam sessions. Despite those origins, Keep It Like a Secret emerged as the tightest batch of songs on any Built to Spill record yet, and was greeted with some of their most enthusiastic reviews to date when it appeared in 1999; it also became their first to reach the pop charts. New supporting cast member Sam Coomes — also of Quasi, formerly of Heatmiser — contributed keyboard work. In response to demand from fans, the Live album was culled from the supporting tour, featuring additional guitar work from Brett Netson and longtime band cohort Jim Roth; assembled from three different gigs by Ek, it was released in 2000. The proper studio follow-up to Keep It Like a Secret arrived with 2001s Ancient Melodies of the Future; critical responses ranged from enthusiasm to indifference. The following year, Martsch took a breather to release Now You Know, a solo album on which he delved into more traditional folk and blues. After a long break from releasing records, the revamped group (now a quartet comprised of Martsch, Nelson, Plouf, and Roth with additional help from the guitar-playing Brett Netson) stormed back with one of the finest records of their career, 2006s You in Reverse.