| | Guided By Voices Vampire On Titus CD Guided By Voices Discography of CDs
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Originally released on Scat (31), with PROPELLER. This 1996 reissue does not include PROPELLER.
VAMPIRE ON TITUS is Guided By Voices' first CD, following five albums and a 12-inch EP, all released on vinyl. Which is not to say these avatars of homemade, low-fidelity pop-rock have gone "digital"--TITUS was recorded on 4- and 8-track tape recorders, and sounds like it was mastered on an old boombox. Or as GBV's resident singer-songwriter-genius Robert Pollard puts it in the minute-long acoustic-guitar ditty "Wondering Boy Poet": "The cup is only being filled/For the chance to have it spilled." As if to prove the point, "Wondering Boy" is intermittently invaded by tape noise.
But at least half the songs on TITUS have pop hooks that would make anyone in the Hollies, the Raspberries or Big Star jealous. It's a self-consciously weird album, with Pollard making bizarre percussion noises, guitars distorting beyond hope, harmonies not quite matching, lyrics alluding puzzlingly to marchers in orange and nests of crows, and songs seeming to end just as they've begun. It's also a brilliant one, sounding something like a radio transmission from a distant planet where rock has been stripped of all its bombast and boiled down only to its melodic possibilities.
Guided By Voices: Robert Pollard (vocals, guitar, drums); Tobin Sprout (guitar, bass, vocals); Jim Pollard (guitar).
Personnel: Robert Pollard (vocals, guitar, drums); Tobin Sprout (vocals, guitar); Jim Pollard (guitar).
Recording information: 1993. Guided By Voices Vampire On Titus Songs Vampire On Titus Review
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Principally recorded at Olympic, Townhouse and Moody Studios, London, England.
After almost five years, the vile, nasty, spunk-filled world of Placebo has refused to go away. Marilyn Manson has turned a satirical eye on his own media status and even Suede have since come to swoon over girls "shaped like a cigarette." Yet it's Brian Molko that's steered his band from premature randiness (Placebo) to fearful regrouping (Without You I'm Nothing) without once batting a makeup-smeared eyelash. Black Market Music finds Molko in such moody lust that his strangled, androgynous wailing rivals anything the band has previously flashed to the world. Whether it's the dripping, slithery punk circle of songs like "Black Eyed" or the choir-boy enthusiasm of others like "Special K" (strangely echoing Midnight Oil's "Warakurna"), Placebo seem to have finally found that sweet wet spot between beauty and perversion. Even at its worst (the "Block Rockin' Beats"-sampling "Taste in Men"), past glories sometimes fail to be repeated with at least grand, postcoital contentment. Because it's hard to hate an album with such fascinating softer touches. In one moment, Molko cries respect to his mother; in another he counsels, "You better keep it in check/Or you'll end up a wreck/And you'll never wake up" -- a paternal warning seemingly directed at his fellow hedonists. Of course, there's a thin line between trying to perfect old efforts and stumbling into laughable self-parody. But Placebo now seem more in control than they ever have before. The spectacular "Commercial for Levi," for example, is some perverted, weary take on a childhood lullaby, only one written in a parallel dimension about "spunk and bestiality." True, there's no "Nancy Boy" or "Pure Morning," yet the album's consistency easily outmatches even the highest watermarks of either predecessor. This is a dank, lusty moment in the band's career that is about as good as Placebo "mark 1" can go. They now have the talent, the intelligence, and the distorted arousal to possibly become unstoppable. It's only a matter of time before ...
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