Its not slick.Īt Audible Alchemy, they wound up chasing a 1960s sound. Steve, being the musical person he is, just fell into the role of co-producer, Doug says, then recants, Its not even really produced. When they chose Steve Lobdells Audible Alchemy studio, they happened upon another element of the album. Also, engineers take pride in their work and would not let it be too fucked up. Just to see what would happen, Doug admits, Ive made enough records to know I could do this. Similar to the generative process, they felt a need to try something different. The band decided to self-produce in order to put themselves in a new situation. 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.Īs a discrete creation the record relies on more than good chemistry and Dougs expansive writing. These new songs are just starting to scratch the surface. To Jim, they were striving to see what the band could be, the four of us. Being the new guy, Jim Roth appreciated this approach. It resonates with relationships, the way the band as a whole responds to music and to each other. Instead of a broad, atmospheric sweep, this record sounds natural. 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. The band wanted to retain the impromptu, organic feel of their jams. With a batch of songs in hand, the goal became to keep the recording simple and stripped down. Dougs private writing process then allowed him to meld favorite spontaneous moments with composed transitions and intricate melodies. 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. Half of the finished material incorporates segments the band wrote together during jam sessions.ĭoug did bring in a few songs ready to go. To a large extent, each musician wrote his own parts. You In Reverse arrives as the most collaborative record in the bands thirteen-year history. According to Doug, they had no idea what kind of music they wanted to make. This foursome started jamming and recording their hours-long musical explorations. When the group returned to work, the line-up included Jim Roth as a core member. 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. In 1999, after the release of Keep It Like A Secret, Jim Roth joined the band as live co-guitarist. This line-up toured and made records with additional guest musicians Brett Netson and Sam Coomes. Records debut), Doug found a rhythm section he could not relinquish: Brett Nelson and Scott Plouf. In 1996, while recording the album Perfect From Now On (their Warner Bros. For a few years and a few records band members came and went. Recording in the middle of the night in order to get free studio time, they assembled 1993s Ultimate Alternative Wavers. The first incarnation of Built To Spill included Doug, Brett Netson, and Ralf (Youtz). His intention was to sustain a project that would involve a rotating cast of musicians to record albums and tour. The album You In Reverse documents the newest branch of Built To Spills chaotic, yet elegant evolution.ĭoug Martsch formed Built To Spill in 1992. Their collaborative efforts lasted seasons and yielded dozens of hours of ADAT tape. Without a tentative conclusion or even a hypothesis the four members began to experiment. When Built To Spill wanted to find out what their music sounded like they locked themselves in Doug Martschs garage. BUILT TO SPILL – Keep It Like A Secret 20th Anniversary Tour
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