Albums I Love: Keep It Like A Secret

Built to Spill hover in time as one of those bands who, while everyone seems eager to acknowledge the acclaim of much of their work, never seem to have generated the excitement and passion that a rock band should. For instance, if per chance a conversation about the best album of 1997 were to arise, immediately three Radiohead fans (one having just popped out of the ceiling tile, another actually conjuring out of thin air) will be down your throat lauding the praises of 'OK Computer'. Meanwhile the Built to Spill fan will remain relaxing quietly in the corner, not because he has any doubts of 'Perfect From Now On's rightful claim to the throne, but simply because BtS's music is not the type to make any eyeballs immediately bug out of their sockets. It is undeniably rock, and yet comes from a meticulously calculated, carefully structured framework. It is music that rewards patience and calm, in almost direct antithesis to the whole aura of "rock". And yet, when that release occurs, there is hardly a better reward anywhere in the genre.

(Sidenote: Just to be fair and thorough, in the event of the aforementioned conversation occurring, Elliot Smith fans would start hunting around for sharp objects, Bjork fans would open a can of tofu, the three Yo La Tengo fans in the world would not be present, and the Spiritualized fans would do us all a favor and start taking the Radiohead zealots out.)

Take, for prime example, the third track of today's loved album (1999's 'Keep It Like A Secret'), entitled "Carry the Zero". Over six minutes the band lays down a solid tune, with good drive and a catchy enough melody. What is not as immediately apparent, and is characteristic of BtS, are the additional melodies being layered and dubbed through subsequent guitars throughout the piece. Each, in its own right, is subtle, and carefully weaved into the mix. By the climax of the song however, they all come together to achieve one of the most cathartic endings in rock and roll history. Most listeners dipping into the band for the first time would hear the tune for a minute or two, get a grasp of their sound, and then most likely notice the track length and skip, completely missing out on the whole grandeur that constitutes the genius of Doug Martsch.

A similar moment of quintessential musical bliss occurs in the introducing build-up of the song "Time Trap". The track begins with a cleanly fingered bass line, thick enough to nearly be palpable, before being saturated by a wash of distortion buzzing comfortably just over top. Out of the drone, the mesh of interlocking lines and melodies start to weave themselves together, ultimately achieving a soaring apex. From the heights however, on a beat it is all succinctly stripped back to a single snappy guitar, allowing the vocal melody to take over. In this way, the music of BtS often comes across as more of a composition rather than a traditional song. And the group does pay a toll for this. I rarely find myself humming a BtS tune, as even the poppiest of their work simply does not lend itself to casual listening. This said however, their music typically adheres too closely to conventional song structure, and is too reliant on vocals to toss the band off as more post rockers. BtS undeniably are a unique and treasured addition to the pantheon of American rock.

In the BtS catalog, 1994's 'There's Nothing Wrong With Love', and the aforementioned 'Perfect From Now On' and 'Keep It Like A Secret' are generally considered great works. Of the three, 'PFNO's eight lengthy tracks embody the spirit of the compositional nature of BtS's arrangements, while the slightly more ramshackle 'TNWWL' presents us with the closest thing to a pop based album the band has ever done (which, frankly, is not that close). On 'KILAS', recorded after both of these records, the band truly marries each of these musical components to perfection. Oftentimes even, within the scope of a single song ("The Plan", "Time Trap", "Temporarily Blind"). You still have your sweeping epics ("Broken Chairs") and your two minute pop ("Center Of The Universe"). To be found nowhere else in the BtS catalog is a track that approaches the gentle beauty of "Else". 'KILAS' is virtually an essay on balance, a tutorial on how to make an accessible record laced with genius.

As said however, it is not a genius that jumps out to greet you. It must be approached patiently and openly, and given the time and attention needed in order to let it's majesty unfold. If you can't understand why Doug Martsch's name is always in the conversation of great indie guitarists, its not because of sprawling and obvious solos. Rather, its because of what he does when most aren't listening, and the dividends that his work pays to those who are. It's not an easy secret to share, so most follow step and just keep on keeping it. Cats out of the bag now Doug.

Best Tracks: "Carry The Zero", "Time Trap", "You Were Right"