Built To Spill

The American indie rock scene of the 1990s didn't produce many guitar heroes, but Doug Martsch, leader of the Boise, ID–based collective Built to Spill, definitely qualifies. Following the trail first blazed by Neil Young and Dinosaur Jr's J Mascis, Martsch (the only person to play on every Built to Spill record) is equally comfortable with intricate textural overdubs and unhinged fuzz-o-rama soloing. He also sings in a Neil Young–ish whine and writes clever, cutting songs. In short, he's a talent more people ought to know about.

Built to Spill's opening gambit, Ultimate Alternative Wavers, is out of print but worth hunting down for the noisy catharsis of "Revolution" and "Nowhere Nothin' Fuckup." More restrained and more focused, There's Nothing Wrong with Love shines brightest in the quiet moments; the wayward backing vocals and slide guitar on "Cleo" lend extra charm to the lyrics, sung from the perspective of Martsch's then-newborn son. A rambling EP cut with the help of another Boise band, Caustic Resin, is for fans only, as is The Normal Years, a collection of early singles and outtakes.

Thanks to a major-label production budget, Perfect From Now On is Built to Spill's tightest-sounding album yet, though the songs are still discursive: "Stop the Show," for instance, starts with an ominous, vaguely flamenco three-minute intro, morphs into loud, snotty rock, turns right on a jangle-and-chime hook, then left for a gut-busting lead. Keep It Like a Secret is punchier and poppier, boasting delightful hide-and-seek tunes such as "Center of the Universe" and "Time Trap." It's probably the best initial buy for new listeners. Live is a raw and energetic concert record that boasts plenty of Martsch's guitar-o-rama wailing and a 20-minute-plus version of Young's "Cortez the Killer."

Ancient Melodies sticks to the Secret formula, with hardly less impressive results. Martsch's excellent first solo album, Now You Know, emphasizes his acoustic slide playing, but leaves just enough room for a trademark wah-wah freakout on "Impossible." (MAC RANDALL)

From 2004's The New Rolling Stone Album Guide