Body of Song

Editorial Reviews

Barnes & Noble - David Sprague
A few years back, Bob Mould announced that he was hanging up his guitar for good -- not that he was retiring, but that he was embarking on a new phase of his career, one that would focus on electronics and other items off the six-string path. Well, Body of Song indicates the lure of his roots might have been too strong; while not a full-fledged return to the overdrive of Hüsker Dü or Sugar, it does echo the sensibilities of both bands in songs that seem like the aural equivalent of hybrid cars. Some of Body's parts evoke the spirit of vintage Mould, notably the reverb-drenched opener, "Circles," and "Paralyzed," which weaves a series of jangly riffs through a cottony ...
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Editorial Reviews

Barnes & Noble - David Sprague
A few years back, Bob Mould announced that he was hanging up his guitar for good -- not that he was retiring, but that he was embarking on a new phase of his career, one that would focus on electronics and other items off the six-string path. Well, Body of Song indicates the lure of his roots might have been too strong; while not a full-fledged return to the overdrive of Hüsker Dü or Sugar, it does echo the sensibilities of both bands in songs that seem like the aural equivalent of hybrid cars. Some of Body's parts evoke the spirit of vintage Mould, notably the reverb-drenched opener, "Circles," and "Paralyzed," which weaves a series of jangly riffs through a cottony blanket of synthesizer. The disc's most energetic moments are driven not only by Mould's trademark shout but also by the close backbeat laid down by bassist David Barbe who held down that spot in Sugar and Fugazi drummer Brendan Canty. Even when they're relegated to the background, however, Mould brings a driving passion to the proceedings. He taps into a palpable sense of drama on "High Fidelity," which is layered with lush organ and elegiac bells, as well as on the acoustic "Gauze of Friendship." When Mould ventures into strictly electronic territory -- as he does on "Shine Your Light Hope Love" -- he loses momentum, in large part because he chooses to mask his voice with unnecessary effects that take away from its emotive power. But aside from a few such lapses, Body of Song is the kind of album that Bob Mould fans have been anticipating for a long while -- and, perhaps more important, the kind of disc that could win over a slew of newcomers.
All Music Guide - Mark Deming
In 1998, after the release of his album The Last Dog and Pony Show, Bob Mould announced he was hanging up his electric guitar and exploring other musical avenues outside of rock & roll. More than a few fans expressed some trepidation about Mould's career choice, and that buzz became a roar after Mould released Modulate in 2002, which found him diving head first into electronic music. At least in America, the vast majority of rock fans have not been able to come to terms with the rise of electronica, and regardless of the album's virtues or flaws, few listeners were willing to look past the hard, kinetic surfaces of the music and give the songs a fair hearing. It would appear this prejudice did not escape Mould's notice, as 2005's Body of Song was widely hyped as Mould's return to rock, complete with electric guitars and a live rhythm section. But a spin of the album suggests the album isn't so much a step back to the sound he pioneered in Hüsker Dü and Sugar as an attempt to have things both ways. The fact that Mould spins regularly at a dance club in Washington, D.C., suggests he hasn't lost interest in electronic music as a creative form. Many of the cuts on Body of Song sound as if Mould is still thinking club music, but is filtering it through the framework of a three-piece rock band; "Shine Your Light Love Hope," "Always Tomorrow," and "I Am Vision, I Am Sound" are dominated by echoed textures, lockstep rhythms, and vocoder-processed vocals that wouldn't be out of place on a house track, but with a live drummer Brendan Canty from Fugazi on most tracks, who is predictably excellent and Mould adding a layer of guitar over the top. And while Mould frequently bellows his lyrics with an approximation of the fury of his best-known work, most of the songs on Body of Song deal with deeply problematic relationships and on paper speak more of sorrow, confusion, and misplaced hope than the rage suggested by the bitter wailing he uses to bring them across. Body of Song ultimately feels more like an attempt by Mould to please both his audience and himself than a coherent and confident effort; while it's hardly a failure, it lacks the courage of the admittedly flawed Modulate while falling short of the power of his masterpieces with Sugar and Hüsker Dü, existing in a strange middle ground that doesn't do this talented artist many favors, though there's enough emotional resonance in quieter tunes such as "High Fidelity" and "Gauze of Friendship" to remind you he still has plenty to offer when he knows where he's going.
Entertainment Weekly - David Browne
He's realized, in sonic avalanches like "Circles," that sandblaster chords and cathartic solos bring out the best in him. (A-)

He's realized, in sonic avalanches like "Circles," that sandblaster chords and cathartic solos bring out the best in him. (A-)
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Product Details

  • Release Date: 7/26/2005
  • Label: Yep Roc Records
  • UPC: 634457209121
  • Catalog Number: 2091
  • Sales rank: 76,858

Album Credits

Performance Credits
Bob Mould Primary Artist, Bass, Guitar, Keyboards, Vocals, Loops
David Barbe Bass
Brendan Canty Drums
Amy Domingues Cello
Matt Hammon Drums
Technical Credits
Bob Mould Composer, Programming, Producer, Engineer, Audio Production
David Barbe Engineer
Don Zientara Engineer
Ken Brown Cover Art
Frank Marchand Engineer
Chris Wren Cover Art
Josh Grier Legal Advisor
Sharon Agnello Management
Steve Martin Public Relations
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