Arbitrary key changes and off-notes seem to be a way of the past for Built to Spill's Doug Martsch -- he has traded in his abrasive indie rock disposition for a more laid-back sound. In his first solo release, Martsch showcases a much more diverse array of songs, ranging from alt-country to blues, from bluegrass to more Beatles-esque endeavors layered with strings and keys. The one connecting thread is Martsch's slide guitar. Whether it's just used for a solo ("Heaven") or it's the only instrument in the song ("Offer"), Martsch's twangy slide-guitar is hardly given a rest over the album's 11 tracks.
Vocally, Martsch sounds even more like Neil Young than on previous releases, which is probably a result of less rock-driven, more folk-influenced music in general. Also, production-wise, the vocals are higher in the mix than any Built to Spill release, which gives the listener a chance to hear the full range of his voice.
Lyrically, the album has its poignant moments and its too-poignant-for-its-own-good moments. As far as poetic prowess, Martsch has a strong hand, but it seems he doesn't play his aces when he needs to. The first track, "Offer," includes the line "I am everyone that someone used to love," which is a tad overblown. But in another instance, during the depressing "Sleeve," Martsch redeems himself with the brilliant chorus, "Is your heart too large for your sleeve?," sarcasticallycharacterizing the antagonist of the song as a wannabe philanthropist.
As far as song craftsmanship, Martsch has woven a wide variety of influences to create his unique sound. On one end of the spectrum, Martsch has songs like "Offer" and "Gone," where his slide guitar mimics his gruff vocal melody. Then there's my favorite track, "Heart (Things Never Shared)," in which Martsch loses the strain on his voice and sings with frailty over open chords layered with strings.
The album's first and last tracks are straightforward folk tunes, both sounding low-fi, which makes me think they were recorded on a four track. Other tracks feature less structured composition: "Window" starts out as a new-grass tune with samples of a child talking mixed in, but halfway through, the mandolin and acoustic slide fade out and are replaced by electric guitar and rock drums.
"Impossible" is the only song on "Now You Know" that stays along the lines of Martsch's indie rock roots. While it still has slide guitar and a slight country twang, "Impossible" builds up and then releases in a way that resembles parts of Wilco's "Yankee Hotel Foxtrot" or a "Brighten the Corners"-era Pavement tune. Martsch uses the song as a chance to wail with his wahwah-ed Les Paul amidst cymbal crashes and a loosely structured bass line.
I can see Built to Spill fans both liking and hating "Now You Know," because it's definitely not what most would expect from the creator of rocking songs like "Center of the Universe" and "Carry the Zero," both from "Keep It Like a Secret," the band's loudest and most abrasive album to date. Then again, a lot of listeners might be more willing to accept Martsch's new sound, especially if they're fans of Wilco, Son Volt and Uncle Tupelo. Listeners not expecting any twang will be shocked, for better or worse.
The album as a whole has a summer feel, which is unfortunate since its release date was just last week. It's a pity -- the lazy afternoon mood of the album feels almost irrelevant for a college student in the midst of the hectic semester. Many albums seem to have a specific time and place wherein they should be listened to; "Now You Know" is one of them. The time is on a warm summer afternoon, and the place is out on a porch, preferably a porch overlooking a lake or perhaps an orchard, but I think, honestly, any porch will do.
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