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Not only do we have to wade through a new Robert Pollard/Guided By Voices record each week, we now have re-issues to contend with. 'Waved out' was Pollard's second second solo album and came from an era where I was still fairly excited about his output. It's good, if not quite as good as it's predecessor 'Not In My Airport'. The highlight is 'People Are Leaving' where Pollard creates a brilliant double melody by singing over himself. It's worth the admission price alone. 


  • LP £21.99
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  • GBVI84 / Remastered LP on Guided By Voices, Inc. Pressed on blue coloured vinyl
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REVIEWS

Waved Out by Robert Pollard
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3 people love this record. Be the 4th!
7/10 Robin Staff review, 13 September 2018

It is utterly unfair to our ears that we have to listen to old Robert Pollard records alongside new ones. Honestly Pollard probably could have pretended ‘Waved Out’, his sophomore solo record, was brand new, and no one would’ve called him on it. Who the hell’s fact-checking this guy’s discography, afterall? In a prolific career that I can freely admit I no longer think on with fondness, this was one of the slightly more interesting moments, a late ‘90s attempt at kicking it real nice with the grainy alt-rock R.E.M. influence.

Some nifty songs fill it up, as usual, and the tone feels quite lovely, in a glum kinda way: noisy but diminutive with grey chugged guitars and silly supplementary sounds, like the weird metallic percussions of “Vibrations in the Woods”. Without his band of merrymen, though, Pollard always just sounds a little bit less enfranchised; at the time of recording, it probably was kinda fascinating, as tunes as dour and desolate as “Just Say the Word” carried a different kind of energy. A sad one -- the songs minor melody still moves with peculiar excitement through its song.

Maybe it’d be better for you to be collecting earlier Pollard works than new ones: ‘Waved Out’ is absolutely worth a listen for anyone pining for the more clunky and spectral guitar sound that defined earlier GbV records -- not the beefy rockin’ mess that he now seems to be obsessed with. Here, the old Pollard aesthetic is coupled with a melancholy state of mind.


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