Let’s Go Eat The Factory (2012)
In 2010, Matador Records threw a 21st birthday party for itself in Las Vegas, and it was topped off by a reunion of the classic GBV lineup (the 1992-1996 incarnation, when the real magic occurred). This was followed by recording sessions and, on New Years Day 2012, a new GBV album. Like the albums they’d originally done, they recorded on home equipment in garages, living rooms, and basements, and it seems to have given them the impetus to just relax. While it’s not quite on the level of, say, *Propeller* or *Bee Thousand*, it’s much better than anything made from 1997 onward. It showed that the band wasn’t quite done yet, although that would of course prove to be something of an understatement.
Standouts:[youtube http://www.youtube.com/watch?v=975Ml2_Klpk] [youtube http://www.youtube.com/watch?v=vn8z7k-Qqk0] [youtube http://www.youtube.com/watch?v=l6_YAtr0x48]
Class Clown Spots A UFO (2012)
Six months after *Let’s Go Eat The Factory* the band returned with another sprawling album that sounded like a *slightly* less inspired version of the original lineup’s glory days. Gone were the professional, solid, unexceptional albums of the early 2000s; the band brought back the quick bursts of British Invasion rock ‘n’ roll, the quirky lo-fi recording quality, and the weird song-sketch collages that interspersed their best work. The off-kilter moments are still there, of course, but the good moments are brilliant, and numerous.
Standouts:[youtube http://www.youtube.com/watch?v=pVF_q1ZbU-4] [youtube http://www.youtube.com/watch?v=Nh72hROAzFw] [youtube http://www.youtube.com/watch?v=tiyqCbOSv0w]
The Bears For Lunch (2012)
Then came the *third* reunion album in 12 months, and it became obvious that the band was literally incapable of not writing songs. *The Bears For Lunch* is arguably the best of the three 2012 albums, although it’s not by much. The style is the same, though; classic early Who and Kinks type songs filtered through a stormy night when radio signals bounce all over the ionosphere and snatches of great old pop songs can be heard fitfully and from far off. The hit percentage is, as the others, not as high as it was in the mid-1990s, but it’s close.
Standouts:[youtube http://www.youtube.com/watch?v=DvaHuls6p7c] [youtube http://www.youtube.com/watch?v=4Hn0_uFEa5E] [youtube http://www.youtube.com/watch?v=D_m1YmrOxv4]
English Little League (2013)
The band’s fourth album in the space of a year finds the third era of Guided By Voices beginning to run out of steam a bit. When they’re on, they’re **on** (especially on Tobin Sprout’s songs), but when they’re off they seem muddled and distant, like a lover who’s beginning to tire of you. Time will tell if the relationship will begin to sour, but if it does, this will mark the point where you can look back, broken and alone in a rented efficiency with hotdogs thawing in the sink, and say that it all began here. The hit-to-miss ratio, always pretty high on even mediocre GBV releases, slips a bit here; it is proof, perhaps, that even a band as fiendishly prolific as Guided By Voices can eventually wind itself down.
Standouts:[youtube http://www.youtube.com/watch?v=79mXK2oFSMc] [youtube http://www.youtube.com/watch?v=vA9W3l11IOM] [youtube http://www.youtube.com/watch?v=amB9S8Z9HY8]
Motivational Jumpsuit (2014)
And just like that the pendulum swings back and the band seems on fire once again. After taking a (relative) break through 2013 the band released *Motivational Jumpsuit* and proved their continued vitality. If the four albums of 2012-2013 sound like they could be cherry-picked to produced one really stellar album, *Motivational Jumpsuit* sounds like that album. 20 tracks in 40 minutes seems as breezy and concise as it did in the days of *Bee Thousand*, and while the quality is, again, not quite up to the standards of those hoary old days, it’s closer than it’s been at any point during the post-reunion period. The rockers are chunky, with fat, bottom-scraping guitars playing off of drums that actually sound well produced despite the lo-fi recording. The ballads are the best part of the album, especially on the joyous singalong of “Some Things Are Big (And Some Things Are Small)” or “Jupiter Spin”, on which the band reprises its love of appropriating Beatles melodies and takes a new look at “Tomorrow Never Knows.”. It’s a solid album that points the way forward for another busy year of prolific songwriting, and remains as yet another indication of the inhuman creativity of Pollard and Co.
Standouts:[youtube http://www.youtube.com/watch?v=q-MioyVHn-8] [youtube http://www.youtube.com/watch?v=NDfI59euLQg] [youtube http://www.youtube.com/watch?v=5oJp6rH798A] [youtube http://www.youtube.com/watch?v=x_kIvD2BStU]