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Twin Town High (vol. 8) |
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The New Folk iMPLOSION
Wednesday 12 March @ 12:42:58 |
 by Rob van Alstyne
When we last checked in with Lou Barlow, somewhere around the time rumors of a quickly pending apocalyptic Y2K bug were reaching a fever pitch, the hyper-prolific songwriter had just tossed out two new and equally compelling albums (Sebadoh’s self-titled final album and the Folk Implosion’s glossy One Part Lullaby). It’s hard to fathom that nearly four years have passed since Barlow opened his wounded heart to the ravages of the fickle indie-listening public.
Lou Barlow
Equally likely to be hailed as a genius one second and chastised as a self-pitying hack the next, Barlow, now 36, has always been a bright star in the indie-rock constellation. Getting his start as the bass player in Dinosaur Jr. (before being unceremoniously booted by head Dino J. Mascis) Barlow released albums at a frenzied rate throughout the ’90s on a series of miniscule labels, teaming with Jason Lowenstein in the hard-edged and rock-oriented Sebadoh and swapping eccentric home recording ideas and sampled beats with Jonathan Davis in his quieter Folk Implosion project.
Barlow would have gone your typical critically-lauded-but-completely-unknown indie-hero route if not for the fluke success of the Folk Implosion’s 1995 single, “The Natural One” (featured on the soundtrack to Larry Clark’s lurid NYC teen film “Kids”). The slinky synthed-out song (atypical of Barlow’s music at the time) inexplicably vaulted into the top 40, peaking at No. 29 in early 1996. Since that fateful turn of events raised Barlow’s profile considerably, a fact he clearly loathes.
The Folk Implosion’s 1997 follow-up to “The Natural One,” Dare to Be Surprised, largely avoided the slick beat-oriented sound that spawned their sole hit in favor of lo-fi guitars. With One Part Lullaby, Barlow finally appeared to be willing to play ball with radio once again, signing with major label Interscope and delivering the goods in the form of a highly stylized set of gadget-touched popcraft. Tunes like the vocoder abetted “EZ L.A.” paid homage to Barlow’s new stomping grounds; the overall effect of the album was dazzling.
Barlow’s detached musings on the disastrous nature of his personal relationships fit perfectly within the drum machine beats, stray samples and shimmering electric guitars that formed the musical core of each song. “Mechanical Man” provided the emotional (make that unemotional) centerpiece of the record, Barlow’s icy tenor masterfully conveying the emotional vacancy of his narrator: “I’ll do everything he never would, a mechanical man. When I said I understood, I only knew where to stand. But I’ll be there for you if your world’s on a wire. My mechanical moves can fit the mood you desire.”
Unfortunately, even as Barlow reached what should have been recognized as a simultaneous artistic and commercial peak, the mainstream was already turning its back on him, seeking greener post-grunge pastures from the like of Creed. After One Part Lullaby stiffed on the charts things fell apart: Sebadoh dissolved, with Lowenstein departing for a solo career, and the Folk Implosion lived up to their namesake with co-founding member Jonathan Davis exiting the group in early 2001. Forced to regroup after losing both of his songwriting partners, Barlow has re-emerged with a new group and, at long last, a new record.
Featuring latter day Sebadoh drummer Russel Pollard and guitarist Imaad Wasif (from the L.A. band Alaska), the new version of Folk Implosion finds Barlow working behind the bass for the first time in ages and embracing a streamlined sound that combines the more atmospheric tendencies of his past Folk Implosion work with Sebadoh’s direct and guitar driven bent. Still a remarkably emotive singer with an apparently endless fountain of brokenhearted laments left to write, it’s nice to see Barlow back in the ring and slugging it out in the indie-rock trenches. Although still unfortunately known to some as the man behind a gimmicky single, Barlow is far from a corporate created one-hit wonder. The New Folk Implosion will hopefully introduce a whole new generation of fans to Barlow’s work (or at least re-introduce those people who played Sebadoh’s landmark album Harmacy to death as it helped them get through the flannel/angsty years of the mid ’90s with some degree of dignity).
The Folk Implosion plays Wed., March 12, at the 400 Bar with Mia Doi Todd and Alaska. 9 p.m. $10. 21+. 400 Cedar Ave. S., Mpls. 612-332-2903.
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