Now as for Guided by Voices, I'd known about them before--a friend from grad school lent me Bee Thousand and Alien Lanes and Speak Kindly of Your Volunteer Fire Department back in 2008 or so-and I enjoyed them, but delve too deeply into them. For instance, a few surface gems like "Motor Away" and "Blimps Go 90" stuck. But last summer I came across Do the Collapse and Isolation Drills, and the latter in particular got me hooked. Isolation Drills is dense with hooks, craft, and gorgeous power pop sound. Songs like "Chasing Heather Crazy" and "Brides Hit Glass" are crazy infectious, and a song like "Twilight Campfighter" is just stunningly poignant and beautiful. I also like Do the Collapse but it definitely doesn't compare.
So my interest in those albums got me looking into the rest of the (gigantic) Guided by Voices (and GbV-adjacent) catalogue. I can't say I know (or love) it all by now, but most albums have some really excellent songs (and Under the Bushes Under the Stars is the best of all, I'd argue) so that over the last 9 months I have been listening to little else (to the chagrin of those around me).
There will likely be many post about them to come, but I will begin in the relative present with a song off of 2019s presciently named Sweating the Plague. The song is "Heavy Like the World," and its got some good rock and roll chops with some really strong bass and drum throbbing under some nice guitar arpeggios. The music is effective, but of course it is above all a vehicle for the prolific output of Robert Pollard (and occasionally others--props to Tobin Sprout for some really excellent work too).
Lyrically it is like a lot of Pollard's songs: more impressionistic and suggestive than clearly articulated, defying easy explanation. But there are always some really interesting lines (and often some really funny or weird things too--I appreciate the willingness to be surreal and strange).
In honour of this, the rest of this post will be more in the vein of the impressionistic as well, as I chronicle a few of the connections that I make between this song and others as a way of showing how it fits into my emotion life. One such moment is fairly early in the song, as Pollard sings:
"If I finally want to do
the puzzle of your heart"
The image is a neat one, but there is also something in Pollard's pronunciation of "heart" here (and some of this has to do with the style of the production) that reminds me of the pronunciation of the same word in Bastille's "Laura Palmer":
The two song share an appreciation of life in the midst of darkness, though in general Bastille's music is much more straightforward and the lyrics aren't super deep, but I can't pass up any Twin Peaks related content. Plus, I really enjoy the barking dog interruption in the video--I like the way it interrupts the feel-good chorus, not allowing the audience the pleasure of repetition. Similarly, the lines
"If you had your gun,
Would you shoot it at the sky?"
are effective because they frustrate the anticipated rhyme of "gun" and "sun," even going so far as to choose another s-word connected to the heavens.
To get to the other moment I'd like to dwell upon, we move to the end of the song where the phrase "heavy like the world," associated with the burdens of loneliness that have to be borne in order to seek like, transforms into
"Heavy like the words on your tattoos
Put some danger in your life
And more ink in your tattoo"
Now, despite being (barely) born within the slice of time alotted to millenials, I find myself (perhaps in a self-congratulatory way) unsympathetic to many of the tendencies attributed to them. Perhaps the one that I understand and appreciate the least are my generation's rage for tattoos.
However, I don't mind the appropriation of the symbolic potential of tattoos, or of the act of tattooing. The way that pain becomes inscribed upon the body, and can do so in an intelligible and uplifting manner is something interesting, even if the end result is usually less so. Its the symbolism of tattooing that Pollard is invoking here, and I can't help but think of The Mountain Goats song "Amy AKA Spent Gladiator" from their absolutely triumphant Transcendental Youth:
The song deserves a fuller treatment than I'm going to give here, but I want to zero in on these lines, as they remind me of the GbV ones:
"People might laugh at your tattoos,
When they do get new ones
In completely garish hues"
Written after Amy Winehouse's death, the song itself is about staying alive, and doing whatever it takes to do so. As in "Heavy Like the World," these lines capture the idea that tattooing can involve an intensification of life, potential as a means of survival.
Tattoos straddle and interesting line between the external and the internal, as the point of them is to make something internal (a feeling, a relationship, an experience, a memory, etc.) into an external sign. They are, in a sense, for other people, but only insofar as they serve to reveal the self, so even negative attention can still be a resource for the expression of the self. And when the self is particularly pressed, that may be one of the few resources for it to develop itself. But there is a somewhat desperate emotional logic to this (and to the song as a whole), insofar as the external reaction begins to take over as the motivation for the tattoo, thereby taking the emphasis off of the "original" inner reason (the sign takes over from what it is meant to be a sign of). Perhaps the way that exteriority can become the meaning of the originally interior is part of what is "heavy like the world."
