According to modern day magickians like Alan Moore, "Art is magick, because art transforms consciousness". By that definition, some of the world's greatest mystics don't ever actually identify themselves as such. In my world, Robert Pollard is probably the most potent of these closet sorcerers, unassumingly churning out tune after tune ad infinitum from his hometown of Dayton, Ohio. It's an unending supernova. No single rock musician has pushed the boundaries of the human imagination in quite the same way as the guy, who will most likely go down as the single greatest songwriter in human history (or by definition of taste, the most prolific at the very least; he's already kind of got that cornered).
The story of how I got into Pollard's (now reunited) Guided By Voices is a strange one, and as with everything regarding my youth, drenched in debauched sonic witchery. When GBV's absolute classic Bee Thousand finally brought national attention to the then almost entirely unknown band in the mid '90s (mainly due to the efforts of Matador Records), I bought a copy. Truthfully, I didn't like it that much after a few listens. I even most bizarrely remember driving around with my dad at one point and him mentioning that he heard a segment about them and their supposed "indie rock" on NPR and was curious. I put it on. Neither one of us got it. And that's sort of the thing you have to point out to GBV detractors. Even though I have nearly 40 Pollard-related releases at this point, I still don't like any of them until run through number four at least. None of it makes sense at all when it first hits me. I have absolutely no idea how he does this, but it's the sort of thing that's going to confuse the shit out of critics, myself included, especially in the information age.
18 July, 2013