It’s not like I’ve got some foundation of journalistic integrity to preserve, but I guess for the sake of perspective, it’s probably fair for me to admit my general affection for all things Doug Martsch. I mean, let’s face it- I’d probably listen to a recording of him hitting golf balls at the driving range. So count me as one of the many who’ve been anxiously waiting the five years since their last release for some new material. After several days of almost continuous listening to You In Reverse, I’m happy to report that my patience has been well rewarded. For a band who’s earliest intentions were to be a revolving cast of characters to solely provide the vehicle for Martsch’s songwriting, this, their sixth studio album, seems to be much more about a cohesive group of players working together to find and make their sound. There is a warmth, an almost organic texture, that might make the listener believe they were hearing an analog tape of a live session. The result is a collection of songs that may be more stylistically related to earlier guitar-heavy recordings such as Perfect From Now On, as opposed to the more recent and poppy Ancient Melodies of the Future. Gone is the evidence of slick production and overdubs that were part of Melodies and Keep It Like a Secret. From the opening track, “Goin’ Against Your Mind,” it’s apparent that the songs are almost epic in proportion, full of simultaneous grandeur and fragility. That contrast is made possible in part because they’ve left plenty of time in each song to wander between the frenetic and delicate- most tracks clock in well above the five-minute mark. Almost every song has room for the creation of lush and layered guitarscapes, driven by the searing leads of Brett Netson and Jim Roth. Fans of Netson’s earlier contributions will relish the solo in “Just A Habit.” I fear that some may refer to these instrumental periods as ‘jams,’ but that term has been hijacked by the frat-hippies, and they won’t give it back. Besides, the guitar work here is lacking the florid noodling associated with the j-word, and instead is more a foundation for the songs than flourish. As a contrast to the layers of guitar work, there is the sometimes spooky sounding organ of Quasi’s Sam Coomes, like on the goose bumps-inducing “Gone.” And then of course, there’s the unmistakable nasal falsetto of Martsch. That voice is a slow paced, almost forlorn force, which tempers the wailing guitar counterpart. Even lyrics, which are at once human and spacey, are part of the contrasting elements in the music. The combinations provide the push and pull that drives the momentum of these songs, and provides much of their attraction. While perhaps no revolutionary change in direction for the band, this record seems to represent the product of some introspection, during which the weaknesses have been stripped out, and the strengths of the band have been accentuated. For those who are fond of both hearing and pointing it out, there is the Neil Young comparable riffing. There are the long solos that make their stage shows simmer. There is a cohesive tone and mood, which for this particular collection of songs seems conducive to enchanting the listener, and draws one into an active sort of listening. After repeated turns, this disk has lost none of the intrigue and smiles that the first listen generated, and I continue to think that Built to Spill has hit this one out of the park. Listen: Listen to the entire album on VH1.com (PC ONLY) Ownership: Buy the album at Amazon.com ...read full story