Freedom Cruise “Sensational Gravity Boy”
Cradle Robbers “Sotto Voce”

Call it nostalgia or I dunno what, but I’ve been going back lately to the pleasant sounds of the Red Hot + Bothered compilation, part of the Red Hot Organization’s series raising money for the fight against AIDS.

This 1995 release was subtitled “The Indie Rock Guide to Dating,” which implies awkwardness and maybe a total catastrophe; instead, we got a neat set of pop songs from various underground-ish luminaries highlighted by a bunch of team-ups.

The pole position went to Freedom Cruise, a one-off conjoining of lo-fi luminaries Guided by Voices and alternative rock stars the Breeders.

For “Sensational Gravity Boy,” Kim Deal somehow ended up behind the drum set in an all-but-buried performance, but it’s kind of wonderful to hear a Bob Pollard song, in all its shambling, classic rock derived, pyschedelic word-shuffling glory, augmented by the cool tones of the Deal sisters’ backing vocals.

I find it a bit weird, but my favorite thing about this song is that processed guitar burbling out of the left channel. Pretty sure I hear at least a phaser and chorus on there, but there’s probably more; I wouldn’t be surprised if the guitar had been modified to shoot bubbles or something. It’s a tone of whimsy and possibility to me so it’s kind of perfect for a nonsense song about a boy who could fly.

Elsewhere on the comp, Lois Maffeo of the band Lois and Spinane Rebecca Gates, leading lights of the Northwest-to-D.C. indie pop scene (if you will), joined forces as the Cradle Robbers. On “Sotto Voce,” a Maffeo composition, they actually nailed the disc’s minor goal of showing off the sexy sounds of underground music geek culture.

The song’s quiet and simple, two soft voices, some sawed wood, mellow keboards. Quite apropos, actually, for tackling the subject of whispers in the night. But the Robbers have stuffed it so full with a messy range of emotion and experience–togetherness, disillusion, antagonism, playfulness, lust, faith–that it comes on sort of epic. Then, just when you think it’s over, they slay you with a wordless refrain.

Red Hot + Bothered at Newbury Comics.

Mountain Goats: All Hail West Texas (Emperor Jones)
It’s not like I can be totally “critical” or “objective” about West Texas… I lived inside this disc for months as I got over the dissolution of my first long-term relationship and fumbled my way through the single life. You see, concept aside, it’s three-quarters a breakup record. This is simply the most human album to come out in… a long time. And it’s mostly yelped vocals, strummed acoustic, tape fuzz and machine noise. The man responsible would probably string me up for saying it, but here is proof positive why lo-fi still matters.

Wilco: Yankee Hotel Foxtrot (Warner/Nonesuch)
Is this cheating? YHF also made my 2001 list in its MP3 form… Anyway, this record sounds less and less “weird” to me over time—the “experimental” angle is really unfortunate, because it confuses the issue regarding an album chock-full of great, diverse folk-rock songs dripping with pop dada and more often than not emnating a uniquely American dread. As for the backlash: like Chuck and Flava said, “Don’t believe the hype.”

Iron & Wine: The Creek Drank the Cradle (Sub Pop)
Iron & Wine snuck up on me… I was content to write the project off before even hearing it in the “just another singer-songwriter” category. But there are just too many gorgeous moments on this disc for me to sustain cynicism. I’m convinced that all the old-timey country trappings here are a ruse. It’s all about the songs, the harmonies.

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As it turns out, when you approach it with sufficiently low expectations, the Breeders‘ long-delayed comeback release, Title TK, is a damn good listen.

Faint praise indeed, but those are the circumstances under which I arrived at listening to it (over and over) lately. Reviews anywhere worth reading ranged from the lukewarm to the angry, and you do have to wonder about a band revitalized by the addition of guys whose claim to fame is the willingness to back up an aging, toothless Lee Ving in a latter-day version of Fear.

Title TK naturally will let down some folks who are invested in the Breeders’ earlier work, especially after the long break between releases. A wearier, weatherbeaten Kim Deal leads this iteration of the band, and the smile has left her face. You can’t believe everything you read, but it’s easy to buy all the reports on her beery lifestyle if we can judge from the torn and frayed sounds inside. Even worse, sister Kelley seems to have leveraged herself out of much more than occasional vocal duties, being too busy getting off and on and off junk.

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