26 May 2017


antiquated future / inanambulance 2017, edition of ?

"Led by songwriter and sound-experimenter Tucker Theodore, Buffalo Voice's Pilgrim Takes His Spill is a series of ten perfectly destroyed anthems. Psych-sludge garage-punk from another universe." - ANTIQUATED FUTURE

PILGRIM is a hell of a leap forward from where 2015's HUGE DARK MOUTH left off, which is a plenty strong twenty minute missive in it's own right, seeming here gutted for parts to help construct this fully realized full blown masterpiece, which, the more i listen to it, the more i think it just might be TUCKER THEODORE's best yet, at the very least it gives one of my all time favorite tapes in 2013's TO MAKE THE SUN HURT a real good run for it's money

THEODORE brazenly pushes his moody outsider folk style to its limit, channels the GRATEFUL DEAD and NEIL YOUNG by way of MAGNOLIA ELECTRIC CO's TRIAL & ERRORS and MV & EE's ECSTATIC PEACE sides like GETTIN' GONE and BARN NOVA as well as concurrent heralded HCA gems GUITAR BARN and IRON BREW - but there's more to PILGRIM than crunchy jams - it's an outsider rock opera of sorts, a potpourri gleaned from a diverse array of high priority targets ranging from PINK FLOYD to THIN LIZZY to the REPLACEMENTS to DINOSAUR JR to CODEINE

there is plenty of "MASCIS plays NEIL" here i think, not just referentially where MASCIS's white hot guitar reinforces those aforementioned MV & EE records, but reverentially as THEODORE employs that distinctive sound tactfully and to great effect, not as a gimmick or a prop, but also not sparingly, actually reminding me of BARDO POND more than once or twice, and not just as part of some epic guitar lineage, but as an elemental sonic reference as PILGRIM pours it on with impressive and rather unexpected flashes of BARDO POND esque heady oomph

if THEODORE's trajectory over the past three years wasn't indicative, it's now quite clear that he has not just separated himself sonically from folks like JAKOB OLAUSSON and TERRORS, but qualitatively as well, i mean no slight to that favored cluster of underappreciated weirdo folk'ers, it's just that PILGRIM is on another level - that said, THEODORE doesn't abandon folk - while carving out this swath of bizarro classic (loner stoner) rock he manages to maintain a considerable force on the outsider folk front - there's contemporary synergy with IRMA VEP's recent masterpiece NO HANDSHAKE BLUES [REC# 186] and WOODEN WAND's BRIARWOOD - even though the cement hasn't quite dried yet on IV's NHB i'll go ahead and say both of those are top echelon favorites of mine this decade, and PILGRIM looks to be right there with em