Ode To Joy
dBpm
2019
Rating: 7.5 sparkly sandwiches out of 10
I was going to be a snarky dickhead and make the entire review of “Ode To Joy” something like “Wilco releases new record: sounds exactly like a Wilco record.” Then I got super lazy about actually writing the review, which led me to listening to the album more and more over the last couple of months, and now I’m hearing a lot more nuance than had occurred to me on my earlier impressions. It’s almost like you can have a much more thorough take on a piece of art the more you spend time with it. Obviously, that’s not going to actually stop me from making snap judgements in the future, because life is short, there is way too much music to keep up with, and as a well-documented shitty writer, a crap take on things is my raison d'être. Sometimes though, patience is rewarded, assuming you have some to spare.
My overall impression is that “Ode To Joy” is a much mellower album than their more recent releases…it actually sounds much more akin to Jeff Tweedy’s recent solo record “Warmer” than a typical post-Jay Bennett Wilco release – lots of acoustic guitar, most songs are slow-to-mid tempo, and (thank god) way less Nels Cline guitar wankery. Cline is incredibly gifted, sure, but it almost never does anything for me and often feels tacked onto the music as an afterthought. “Everyone Hides” is the obvious stand-out track, and the closest you’re going to get to a straight-forward Wilco-esque jangly pop song on this release. Given that, it’s not that surprising it’s also the lead single with a fancy video. “Love Is Everywhere (Beware)” is also a strong offering, with a nice cinematic quality – and the rare instance where Cline’s noodling actually accentuates the track.
“Ode To Joy” is a good record, and one worth exploring even for jaded old fans pining for the “Summerteeth” days. It’s probably my favorite since 2009’s ridiculously titled “Wilco (The Album),” for those keeping score at home.
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