This is the album that bridged the experimental sound from 's 'Ultimate Alternative Wavers' and the innovative, epic sound of 's 'Perfect From Now On'. The 12  songs featured on 's 'There's Nothing Wrong With Love' are crisp pop songs, ranging in length from just under two minutes, to nearly six minutes/5(43). referencing There's Nothing Wrong With Love, LP, Album, UP Just realized that my first pressing copy of this was done on (what Im guessing) is Quiex or similar type of vinyl. When I hold it up to a strong light source it appears translucent and light brown in color/5().
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- Built To Spill Nothing Wrong With Love Zippos
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- Built To Spill Nothing Wrong With Love Zippo
- There’s Nothing Wrong With Love
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Though this town is miles southeast of Seattle, almost an eight-hour drive, that's not so far in this part of the country.
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You have your car, and everything is spread out, and you're always ready to cover ground when you need to. So despite the distance Boise could conceivably be considered part of the Pacific Northwest, if you stretch the definition a little bit, and the music scene there, such as it is, has some connections to its larger neighboring cities. There's a Boise band called Built to Spill led by Doug Martsch, who used to be in an indie rock band based in Seattle called Treepeople.
Two of the stories in the Pacific Northwest rock scene in the '80s and early '90s are the ramshackle D.
Built To Spill Nothing Wrong With Love Zippos
Martsch's songwriting has some parallels with the wide-eyed and playful perspective of indie pop, but his twee impulses are tempered by his epic guitar work, which is not connected to grunge proper but can be traced to one of the scene's influences, J Mascis of Dinosaur Jr.
Having made one album, 's Ultimate Alternative Wavers , Built to Spill return to Seattle to record their follow-up, There's Nothing Wrong With Love , the record that would change everything for the band. I'd like to think it doesn't matter, but it does. That relative anonymity, free from the nebulous expectations of what eventually became a sizable fan base, gave Martsch license to write his most personal album.
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There's Nothing Wrong With Love , newly reissued on vinyl after being out of print on the format for almost two decades, has come to define a certain strand of indie rock, leaving a cluster of threads picked up by Modest Mouse , Death Cab for Cutie , and many more. But beyond its influence, it captures a truly original songwriting voice at the exact moment he realized what he had to offer.
It's the album as snow globe, a small place where interconnected stories happen and you can get a different perspective on them depending on your vantage point.
Built to Spill had some great records ahead of them, but they would never make another album with this level of intimacy.
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There's Nothing Wrong With Love finds Martsch on the cusp of true adulthood his first child was born around the time it was made, and his feelings around that are documented on "Cleo" , but the past is close enough where he sees it with tremendous clarity. The songs highlight the tiny feelings and sensations that have no obvious consequences in the moment but somehow stay with you in every detail.
Built To Spill Nothing Wrong With Love Zippo
And Martsch has a special talent for pinpointing the tossed-off moments that others might connect to. As a kid, I was excited to learn about the constellations— where they were supposed to be, how the dots were connected, the mythology they represented—but I quickly realized the only one I could make out was the Big Dipper.
Nuggets like this, borne of Martsch's keen sense of introspection and emotional generosity, are the lifeblood of There's Nothing Wrong With Love.
On "In the Morning" he explores the difficulty of enjoying the present moment when filled with anxiety about the future "Today is flat beneath the weight of the next day, next day, next day, next day" and how instinct takes over in moments of uncertainty. All the album's hyper-specific lyrical details—and there are many—check out.
The music and arrangements on the album are every bit the match of the subject matter.
Built to Spill showed only hints of the explosive rock machine they'd later become. Acoustic guitar features heavily, a cello saws away in the background, serving as a sort of Greek chorus tracking the emotional arc of a given song's characters. Once in a while, Martsch hits the stomp box and unleashes a noisy solo, the distortion dusting his effortless melodicism with longing.
There’s Nothing Wrong With Love
There's plenty of open space, and his voice is much cleaner than it would be later. The sequencing and editing is brilliant, from "In the Morning"'s split-second pause after Martsch yells "Stop! It's a sound that is simultaneously tiny and huge, a keepsake tucked into a pocket that could at any moment magically become the size of a billboard.
With its focus on childhood, the nature of existence, and the search for meaning, it's possible to hear There's Nothing Wrong With Love in the terms of "What if there was another universe in my fingernail? But Martsch's open heart keeps you on his side.
It reminded me that one reason young people do drugs is because they offer a second chance to see things for the first time. To borrow one last line from "Car", on this album Martsch remembered when he wanted to see "movies of his dreams.
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