Built to Spill's new album continues the band's tradition of innovation and influence.  Stu Ruiz takes a closer look.

     I have always felt a kind of kinship for Built to Spill’s music.  To me, their lyrics expressed the frustration of an intellectual living in a world that could care less.  The results were always intelligent and honest, managing to avoid crossing the fine line between social commentary and pretentious dredging of society.  The actual music of the band drove the point home, with a sound that even at its most pop-influenced moments was defined by dense webs of guitars, unconventional song structures, and all kinds of instrumental detours that made sure the band was always firmly outside the scope of typical rock music. On There Is No Enemy, the band’s 7th album, Built to Spill may not be breaking new ground, but their execution in both songwriting and performance is superb, making the new wrinkles they do throw in sound fresh.  The result is what could easily be called one of the band’s better albums.

     For those new to the scene, Built to Spill’s music is centered on layers of guitar that serve to showcase Martsch’s strong melodies and impressive guitar playing.  The sound sits in a happy medium; too hook-laden to be noise rock, too fond of off-kilter pop and meticulous arrangements to be a jam band, and too in love with Neil Young to be typical indie.  It’s a sound that has proven to be influential over the years as bands such as Modest Mouse, Death Cab for Cutie, and My Morning Jacket have used it to gain at least a moderate amount of mainstream success.

     The songs on the album take bits and pieces of what Built to Spill’s done so well over the years, from the pop influenced work of their early albums, the prog-like song structures from the classic Perfect From Now, and the extended jamming that’s characterized their work from this decade.   Lead single “Hindsight” has an alt-country feel that wouldn’t sound out of place on a My Morning Jacket record, but the words are classic Martsch.  The song finds him pondering whether “the grass is only greener ‘cause it’s fake” before considering an escape to Canada, the paradise of “pines and ice”.  

     Thematically, There Is No Enemy continue with their intellectual angst, but there is also a palpable sense of loss coupled with a desire to escape that weaves itself in and out of the songs, giving the album a heavier feel.  “Good Ole Boredom” comes in with an incessant back beat that doesn’t even consider the slightest possibility of letting up, while Martsch adds witty lines such as “break out the water/kinda celebrate” and “not so bad/feels so great”.  It’s a fun song that goes through quite a few twists and turns, but it also hints at a desire to escape from some kind of pain.  That sentiment is fully realized on the last line “maybe I’m not smart enough to think of things to think about that matter/or afraid that once I think some things there’s no going back”.

     In my mind, the two centerpieces of the album are “Life’s a Dream” and “Things Fall Apart”.  The former is a vaguely bluesy number with a 60’s pop chorus that leads into an emotional guitar solo, while the latter shifts from soulful crooning to instrumental passages leading up to the emotionally gripping simplicity of lines like “it doesn’t matter if you’re good or smart/god damnit, things fall apart”.  The delivery is perfect, finding Martsch weaving in and out of the groove, taking hold of the listener and refusing to let go.  Both tracks are filled with surprises that I couldn’t in good conscience spoil for the new listener, but let it stand that these tracks need to be heard.

     The song “Pat” brings the conflict being avoided on “Good Ole Boredom” straight to the front with a set of devastating lyrics about the loss of a friend.  While one would expect a slow, somber song, Pat instead explodes out of the gate at punk rock speeds with an almost shredding lead guitar.  There is anger and bitterness in the music that contrasts the sadness of the lyrics, resulting in an incredible track.   Album closer “Tomorrow” takes a similar path, with a chugging riff and some of the fuzziest guitar this side of Crazy Horse.  The song puts the sense of loss found throughout the album in perspective, as we’re reminded “tomorrow’s just a day beyond today/if tomorrow comes”.  

4/5 Wooves