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After Almeida and Casaes flew home, Martsch began overdubbing guitars and vocals by himself.\u003c\/p\u003e\u003cp\u003eMartsch, Almeida, and Casaes had planned to mix the album together later in 2020 somewhere in Brazil or the US, but the pandemic kept them from reuniting in person. “We were able to send the tracks back and forth though, so we were still able to collaborate on the mixing process.”\u003c\/p\u003e\u003cp\u003eWhat emerged is \u003ci\u003eWhen the Wind Forgets Your Name\u003c\/i\u003e, a complex and cohesive blend of the artists’ distinct musical ideas. Alongside Built to Spill’s poetic lyrics and themes, the experimentation and attention to detail produces an album full of unique, vivid, and timeless sounds.\u003c\/p\u003e\u003cp\u003eThe spare, power trio guitar riff in “Gonna Lose” is an anxiety-fueled joyride in song (“What could be more disorienting than being on acid in a dream?”). “Spiderweb” and “Never Alright” are classic-sounding, guitar-driven odes to REM and Dinosaur Jr (“No one can ever help no one not get their heart broken”). If there is such a thing as a Built to Spill sound, “Rocksteady” is maybe the band’s furthest departure from it yet with its reggae and dub-inspired instrumentation.\u003c\/p\u003e\u003cp\u003eThe album also contains bittersweet songs like the lo-fi ‘60s-style anthem “Fool’s Gold,” with its mellotron strings, and bluesy, wailing guitars (“Fool’s gold made me rich for a little while”), and “Understood,” a song about misunderstanding, which also takes inspiration from Evel Knievel’s failed stunt in Martsch’s hometown when he was a child. (“The deaf hear, the blind see. Just different things than you and me.”)\u003c\/p\u003e\u003cp\u003eMartsch was also able to champion his love of comics by recruiting Alex Graham to illustrate the cover of \u003ci\u003eWhen the Wind Forgets Your Name\u003c\/i\u003e. “Alex published Dog Biscuits (Fantagraphics Books) online during the pandemic and it really spoke to me. I was thrilled when she agreed to paint the album cover.” What evolved was even better than he had imagined, with Graham also drawing a fifty panel comic strip for the gatefold. “I just asked for a painting and a comic. She created it all completely on her own.”\u003c\/p\u003e\u003cp\u003eAlmeida and Casaes have returned to their duties in Oruã, and Martsch has begun playing with yet another Built to Spill lineup that features Prism Bitch’s Teresa Esguerra on drums and Blood Lemon’s Melanie Radford on bass. Built to Spill and Oruã are currently touring and have a string of shows planned together in September.\u003c\/p\u003e\u003cp\u003eMartsch concludes, “Making \u003ci\u003eWhen the Wind Forgets Your Name\u003c\/i\u003e was such a great experience. I had an incredible time traveling and recording with Almeida and Casaes. I also learned so much about Brazilian culture and music while creating it. 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Barnes, who will answer to any pronoun you proffer, bent gender and genre through complicated and ever-delightful records, trouble and woe fueling kinetic tunes of radical incandescence. But there is only so much energy one can expend on the vanguard, living in a town that often felt like a frat house suffused with regressive notions of race, sexuality, and decency. It all exhausted Barnes. They had, however, built a life there—a home, a family, a studio, a reputation. Could Barnes ever really exit?\u003c\/p\u003e\n \u003cp\u003eThe new \u003ci\u003eLady On The Cusp\u003c\/i\u003e is not only a rapturous synthesis of most everything of Montreal has ever done but also Barnes’ final transmission from Athens, as they’re now a fresh Southern expatriate delighted to be living among the snowy peaks and progressive politics of southern Vermont. Written and recorded in the months when Barnes and partner, musician Christina Schneider, prepared to leave, \u003ci\u003eLady On The Cusp\u003c\/i\u003e combines a keen reckoning with the past with hopeful glimpses of the future, all clad in Barnes’ purposefully scattershot pop kaleidoscopes. The glittering trauma confrontation of “PI$$ PI$$,” the devotional R\u0026amp;B surrealist fantasy of “Soporific Cell,” the nuevo jazz lamentation of “Sea Mines That Mr Gone”: These 10 tracks—funny and sad, sexy and brooding, playful and serious—find Barnes finding new paths ahead. Barnes is moving both from situations that felt suffocating and toward musical ideas that feel evermore freeing.\u003c\/p\u003e\n \u003cp\u003eBarnes and Schneider met nearly seven years ago, when of Montreal and Schneider’s Locate S,1, shared a tour. They fell in love on the road, and she relocated to Athens to begin their life together there. Barnes had certainly contemplated leaving the South but worried about the existential anxieties: Where would they go, for instance, and how would they make friends wherever that was? Easier just to stay in place, right? But the couple began visiting Vermont together, slowly seeing every season in the state where Schneider had gone to school. Barnes imagined another way to exist. What’s more, Schneider—whose own band was in part a vehicle for confronting childhood damage—encouraged Barnes to engage with the wreckage of their past, to grow beyond it in a way they admit they never had. “Christina has been extremely helpful,” Barnes says with more than a touch of relief, “in realizing that who you’ve been doesn’t make you who you are.”\u003c\/p\u003e\n \u003cp\u003e“2 Depressed 2 Fuck” was the first song to emerge for \u003ci\u003eLady On The Cusp\u003c\/i\u003e, the despair of its title and hook speaking as much to modern intergenerational malaise as any specific encounter. It begins with busted drums and electronic gashes, but Barnes slowly twists those caustic noises into a buoyant gem where the refrain lingers like a warm spring dream. Likewise, “PI$$ PI$$” uses the flotsam of past trauma as a springboard into a thundering dance jam about leaving that shit behind, about discarding “the Amygdala hijack furies” that plant us in emotional concrete. Barnes dreams of the personal frontier of Vermont in the Byrds-like beauty “Rude Girl On Rotation,” referencing not only the lush forests of the Green Mountain State but also a new neighbor who loves just intonation and the possibilities it presents. And the brilliant “Soporific Cell” is an unbridled and infectious love song, Barnes’ lissome falsetto offering up every bit of themselves to Christina and their life together. “I’m prepared to make an everyday beast of myself,” Barnes vows over sashaying guitars and splashing cymbals, “only for you.”\u003c\/p\u003e\n \u003cp\u003eBarnes has always been fond of linguistic tricks, of Montreal’s catalog loaded with alliteration, puns, and florid phrases that dare you to tease out a meaning for yourself. But the two-part finale of \u003ci\u003eLady On The Cusp\u003c\/i\u003e levels up in that regard, as Barnes slides into the amniotic haze of dream language for the two-part finale. They compiled “Poetry Surf” by cutting together words and ideas found in books by Ezra Pound and James Joyce or life at large, so that “chryselephantine chiaroscuro cerements [are] unearthed.” The track is a devilish whirlwind, Barnes delighting in these games over a martial beat and vertiginous keys. As the song slams into “Genius in the Wind,” the bass strutting in endless circles now, Barnes sings that “Unwittingly temporalist scorched earth is radio violence,” seeming to set up another delirious round of wordplay. But listen closely, and notice that it is instead a pledge of allegiance—to follow someone into the darkness of their life and hopefully come out better on the other side, with some sex and music and fun along the way. All of this perfectly coils together for the infectious “Yung Hearts Bleed Free,” a Bootsy Collins-influenced, self-deprecating ode to Barnes’ heroes—“sex maniacs” and “drug-addled creeps,” all—that indulges in freedom and fetish. It is candid, too, about the doubts and shortcomings of any life lived fully.\u003c\/p\u003e\n \u003cp\u003eNostalgia is not Barnes’ thing, never really has been. While of Montreal’s peers from the mid-’00s indie bloom have often circled back for seemingly endless reissues, reunions, and retreads, Barnes mostly hasn’t, choosing instead to press for novel ways to make the kind of jubilant but tumultuous tunes they have long loved. 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And I’m here for my COMPUTER!”\u003c\/p\u003e\u003cp\u003e– Also Blixa Bargeld, when picking up said computer from a computer store in Berlin where Xiu Xiu now resides\u003c\/p\u003e\u003cp\u003eThere’s a dance, and on occasion a place to go dancing, where we while away the inevitable in the distinct hopes that we can better embrace what’s left of clocks that only run one way. You see, time is the issue and the issue is all about doing a dance that measures out life, and chance, and smooths the groove into something that can comfortably be swallowed.\u003c\/p\u003e\u003cp\u003eLike \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e?\u003c\/p\u003e\u003cp\u003ePrecisely like \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e. Which, on the face of it is the newest record from \u003cstrong\u003eXiu Xiu\u003c\/strong\u003e, but only on the face of it. Underneath that face, the sinews and struggles of a need that seeks to name itself over every record, and every song on every record, ever written by Xiu Xiu of course, but also anyone who ever sought to make a record that’s worth a good goddamned. And this record is precisely that.\u003c\/p\u003e\u003cp\u003eThat is: a good goddamned. Nine songs of it, in fact. Nine songs to seal the deal for those who will still listen to all nine songs, in order, because an album is a message that can’t be read piecemeal. Mixed by John Congleton with a band-directed dictum that he should feel free to both “go crazy” and if there was ever any doubt as to what that meant please, by all means “choose iconoclasm.”\u003c\/p\u003e\u003cp\u003eWhich, if your ears are not liars, he has very specifically done. Even if it was not that heavy of a lift to do so since Xiu Xiu has made doing so their raison d’etre for the better part of forever. Formally formalized here under Xiu Xiu’s sense that “the destruction of an original aesthetic notion as a motivation was new for us.”\u003c\/p\u003e\u003cp\u003eWere it also a marching order for anyone committing to actualizing a musical experience of some significance, it seems we’d all be a lot better off. Or at least feeling a lot better off. Which in the end is the only measurement that matters in the face of lives of weighty import. Or even lightweight frivolity. It’s there and everywhere in-between.\u003c\/p\u003e\u003cp\u003eAnd while it sounds like in a volitional sense something easy to do, doing so song after song on record after record doesn’t always clarify or make things easy. Something driven home on their song “Veneficium,” a word with Latin roots connected to poisoning potions.\u003c\/p\u003e\u003cp\u003e“Being lost, literally lost, emotionally lost, lost in a smashed psychological dimension beyond your control, being overwhelmed by the weight of one’s insignificance in the face of time, space and death and pointlessly railing against what does not notice let along care about you”\u003c\/p\u003e\u003cp\u003eThis record though, it must be said, sounds (and feels) like it does care about you. A sense that might mask the randomness of our place in space or more completely, sets it off as the true face of all of our public endeavors.\u003c\/p\u003e\u003cp\u003eBeyond that? Songs like “Common Loon,” “Arp Omni,” and “T.D.F.T.W.” tip the scales toward a dangerous kind of listening experience. One that both takes a lot, but gives more, in almost equal measure.\u003c\/p\u003e\u003cp\u003eSomething set off by Xiu Xiu when they say, as they do, that if they want us to feel anything for this record, it would be “unafraid.”\u003c\/p\u003e\u003cp\u003eDamned straight. We’ve had our fill of that shit lately, and if Xiu Xiu’s move to Berlin is any indication – “we wanted to stay ahead of disaster this time” – it is no less important of a thing than anything else we measure life and death with.\u003c\/p\u003e\u003cp\u003eSo, \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e?\u003c\/p\u003e\u003cp\u003eYes, \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e. While regret is for children and old people, rest assured that if you’re not one, you’ll be the other. And out of the long laundry list of things on your regret list, you will most definitely not find \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e. It’s a mitzvah. For what we should be well pleased.\u003c\/p\u003e\u003cp\u003eYou are alive. And, oh yeah, long live Xiu Xiu.\u003c\/p\u003e\u003cp\u003e–Eugene S. 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