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Bob Mould released eight albums in the 80s with Husker Du. When they called it a day in 1985, Mould set out to put his past behind him and forge a new path ahead.  He released two solo albums, the alternative rock classic Workbook, and Black Sheets of Rain.  They were followed by three incredible records with Mould’s aptly-named band Sugar, and four more solo albums.  The last two, Modulate and Long Playing Grooves (under the name LoudBomb), saw Mould take a decidedly less rock turn using fewer guitars while exploring new musical territory with more keyboards and programmed beats.  His more recent sound is no doubt influenced by his move to Washington D.C and his monthly DJ sets with Blowoff partner Richard Morel.  Each step of the way, Mould changed things up a bit by adding backing keyboards, synth strings, slower, dancier tempos, or by playing all instruments and producing the records himself, all while never really straying from his original sound.   
 
For his latest record, Body of Song (YepRoc Records), Mould successfully brings together the best elements of every era of his career. Playing a lot of the instruments himself, Mould fortifies his studio performance by enlisting the help of fellow Washington D.C. residents Brendan Canty (Fugazi), Amy Dominguez (Garland of Hours) and Don Zientara (Fugazi producer and owner of D.C.’s Inner Ear Studios), while former Sugar band mate David Barbe and touring guitarist/former Verbow member Matt Hammond and Blowoff partner Richard Morel are also on board.
 
‘Circles’, along with ‘Paralyzed’ and ‘Days of Rain’ are songs most reminiscent of his post-Sugar solo albums, with Mould playing everything except drums.  ‘(Shine Your) Light Love Hope’ combines Mould’s trademark guitar texture with Modulate’s processed vocals and a body-shaking dance beat.  ‘I am Vision, I am Sound’ mixes Modulate’s squiggly electronic effects with a sampled guitar sound not unlike those found on Black Sheets of Rain.
 
‘Missing You’, ‘Best Thing’ and ‘Underneath Days’ all most resemble the Sugar era, with a basic guitar/bass/drum format.  ‘Missing You’ is similar to FU:EL’s ‘Favorite Thing’ while ‘Underneath Days’ is the stand out track of the three, channeling Sugar’s Beaster-like intense guitar and vocal delivery. 
 
Bassist David Barbe lends a hand on ‘High Fidelity’ and ‘Gauze of Friendship,’ the two songs that pull most from the Workbook era with Mould’s acoustic 12-string rhythm and electric guitar solos.  There are sounds like chimes and a Hammond organ played on keyboards that shine through on ‘High Fidelity’ while Dominguez’s cello makes ‘Gauze of Friendship’ sound like a lost Workbook track.  Dub bass and fuzzed guitars are paired with a mellow keyboard and the easy-going vocal delivery of ‘Always Tomorrow’ to create a nice, near shoegazer feel. 
 
There are a couple of other remarkable points to mention about Body of Song.  First are the vocals, which are right up there in the mix with the music, and the lyrics which show Bob is at the top of his game.
 
The special editions Mould has put together for several of his albums have been quite elaborate. The Body of Song Deluxe Edition is no exception.  It is one of the better special editions I’ve ever seen, topping those for both of the Sugar albums:  Copper Blue’s genuine copper gatefold sleeves containing one-of a kind Polaroid photos and File Under: Easy Listening’s lavish wallpaper tile display designs.  The Body of Song Deluxe Edition comes in a two-piece textured black box embossed with the same cross logo found on the cover of the regular release. Included inside is a series of sixteen different images printed on thick vellum, a printed lyric sheet and a bonus disc with six non-album cuts, and three Morel/LoudBomb remixes, all of which are wrapped in a sheet of gold felt.  The Deluxe Edition has beautiful packaging and it’s definitely worth owning, if you can find one.
 
If you can’t find the special edition, you’ll definitely be happy with the regular edition of Body of Song.  As varied as this album is within his career, it is one of, if not the strongest of Bob Mould’s albums and sure to reach the top of many best-of 2005 lists.  It’s already at the top of mine.

 

 

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