Loose Fur
http://www.dragcity.com

styles: indie rock, experimental rock
others: Wilco, Jim O'Rourke

Born Again in the USA
Drag City, 2006
rating: 3.5/5
reviewer: jspicer


Our favorite misanthrope, otolaryngology case study, and heavy metal drummer have returned to form Captain Planet – or in this case, Loose Fur. It's been three long years, and what do the boys have to show for it? One hell of a new album. From the very first note, there are large differences between Born Again in the USA and the band's triumphant debut. Where Loose Fur relied heavily on Jim O'Rourke's signature guitar prowess and Glenn Kotche's rhythmic drumming for their first foray, Born Again in the USA utilizes the skills of each member equally. Tweedy brings the heat with some of the best observational lyrics of his life, O'Rourke taps into his Sonic Youth stay to further prop the band's slow evolution from experimentalists to prog rockers, and Kotche is able to spread his wings and bash away at the skins. And did I mention that Born Again in the USA could even be mistaken for a *gulp* concept album!?

The title is indeed a riff on Bruce Springsteen's landmark album that took an introspective look into '80s working class U.S.A. That same aesthetic runs true throughout Loose Fur's homage, though the disc is full of conversations and observations of religion's place in American society. This is a theme not unusual to men who wrote, played, and produced the questioning gems "Jesus, etc." and "Theologians." Just look at the tracklisting and you'll see Loose Fur isn't shying away from getting under the skin of those zealots who choose to hide behind two stone tablets and a black faux leather book; 10 tracks mimicking the 10 Commandments, with titles such as "Thou Shalt Wilt," "Apostolic," and "An Ecumenical Matter," to further rub salt into the wounds.

But it's the actual content of each track that makes Born Again in the USA such an interesting listen. The album's ruckus opener "Hey Chicken" seems innocent enough – big riffage and pounding drums framing out a rock-pop extravaganza – but the lyrics are the barrel of a shotgun pointed straight at Evangelists (and moreso Televangelists) everywhere. The chorus' chant of "You want me broken/ You want me dead/ I'm living rent-free/ In the back of your head" is an open-ended statement that could be taken many ways, but let's play the role of a stalwart Jerry Falwell or Fred Phelps and think "literally." Tweedy is firing the first salvo towards evangelists abusing Jesus and his death for monetary gain. Pat Robertson or Benny Hinn wouldn't be housed in 20-room mansions and driving 10 different Rolls Royces if it weren't for their exploitations of Christ's death. Loose Fur follows up the sentiment with "The Ruling Class," a satirical look into Jesus' return into modern day America. In this case, Jesus has returned as a crack-smoking fat cat (and maybe it's no coincidence that the melody sounds like a sped up version of "Handshake Drugs"). I'm sure there's plenty to get up in arms about, but the entire song is tongue-firmly-in-cheek. Some would have us believe Jesus is some rich old conservative, but Tweedy is willing to prove otherwise with a humor often missing from Wilco's catalogue.

Jeff Tweedy isn't the only one whose lyrical stance (someone will get that) on Christianity is heard from the mountaintops. O'Rourke is just as capable as telling a story, and none is as funny and sad as "Stupid as the Sun." Jesus takes the first person narrative as he pleads to be let down from the cross before his eventual crucifixion. Jesus' idle threats of what his father will do ("He'll give you something to write about") if he's not released fall on deaf ears. His next try is admitting his faults: "Even my mother's given up on me/ I'm as stupid as the sun." His last ditch attempt is to resign his post of saving men, but no one's buying what Jesus is selling. His fate is sealed. "Thou Shalt Wilt" is an entertaining countdown of the Ten Commandments and their hold on some men and women. Beneath the breezy melody lurks a debate between zealots-turned-seedy lawmakers who want to make sure they can bend and mold each commandment's meaning to fit their lives. Morals are forgotten in lieu of forging wriggle room in case someone takes a misstep. It's easy to manipulate words to fit any given situation, and O'Rourke is right there to point out as much.

It would have been easier to write a review about the musical changes between Loose Fur and Born Again in the USA and how it mirrors the changes between Yankee Hotel Foxtrot and A Ghost is Born, or even Insignificance and Murray Street/Nurse, but then the heart and soul of Born Again in the USA would be neglected. This album isn't a shot at religion as a whole, just those who choose to manipulate Christianity and its morals into excuses for the darker side of politics and law. O'Rourke, Tweedy, and Kotche are questioning those who use religion to control, who use it to scare, who use it to do their bidding. Lyrically, Loose Fur take an unpopular stance. Musically, the album is a definite barnburner. If you find the messages too much to stomach, the melodies and riffage will comfort you. There's plenty of air guitar to be played courtesy of Born Again in the USA, and hopefully it'll make you think while you're blazing through the freak-out of "Wreckroom."

1. Hey Chicken
2. The Ruling Class
3. Answers to Your Questions
4. Apostolic
5. Stupid as the Sun
6. Pretty Sparks
7. An Ecumenical Matter
8. Thou Shalt Wilt
9. Wreckroom
10. Wanted

Loose Fur
Drag City, 2003
rating: 4/5
reviewer: amneziak


Last year was a great year for several Chicago artists known to many as Jim O'Rourke, Jeff Tweedy, and Glenn Kotche. The latter two members are from the celebrated outfit called Wilco. O'Rourke, historically, has been on his own doing solo acoustic and electronic material, but over the last several years has found himself creeping into other band's studios to collaborate and provide some helpful insight. He's shown the music world that he definitely has what it takes, and that his precise and melodic sensibilities are completely valid in the music industry. While becoming a major contributor to Sonic Youth's Murray Street, it became quickly apparent that his style of melody was exactly what Sonic Youth had needed for quite some time. Simultaneously, Tweedy and Kotche were at work on the release of Yankee Hotel Foxtrot. It finally landed around April 2002, with much praise and accolades from the public. It had been a long ride for the band, but the time had finally come to get the long awaited material out. After comparing the YHF demo tapes to the final product, it's again obvious that O'Rourke had quite a bit of influence on what the public would call Wilco's best album yet.

If you've heard anything by any of these gentlemen, you know by now that Tweedy, O'Rourke, and Kotche are talented musicians in their own rights. However, there really isn't anything on Loose Fur that Wilco and O'Rourke fans haven't heard before. Except maybe for the fact that Tweedy is "back in the saddle again." In fact, Loose Fur sounds pretty much exactly like what you'd expect. The opening track, "Laminated Cats" leans toward the Yankee Hotel Foxtrot sessions and begs comparison to Radiohead's "I Might Be Wrong," while "Elegant Transaction" is all O'Rourke in scope. It permeates the album with homage to anything on Insignificance or Eureka. For this reason alone, Loose Fur seems a little "insignificant" and somewhat forced. I'm not speaking of the music itself, because each song is respectively great. However, I find myself wondering why this collaboration was formed other than to make an album that would expand O'Rourke's already endless catalogue even further. Regardless of my assumption, the material that's been produced here is pleasantly received.

"So Long" is the stand-alone track due to the fact that on the surface it has the least aesthetic appeal. About half way through the song, the noisy guitar antics begin to fade, and we're left with what seems to be one of the only two true collaborative moments. "You Were Wrong" follows behind "So Long," and is signature Wilco from beginning to end. Why this song wasn't on Yankee Hotel Foxtrot is beyond me. The true gem here, however, is the final track, "Chinese Apple." It's the only song that actually sounds exactly like O'Rourke and Wilco combined. It resonates with pure harmony, and proves that this is a collaboration that truly works for something better. I guess the best things are saved for last.

So, if reading this review still leaves you in question as to what Lucifer, I mean, Loose Fur sounds like as a band, simply refer to Yankee Hotel Foxtrot, Insignificance, and Eureka. It's really impossible to put it any other way. Going by what these guys have produced in the past, it's almost hard to say anything negative about the music itself. The only question that truly remains is, "Why collaborate on something you can do yourself?"

1. Laminated Cat
2. Elegant Transaction
3. So Long
4. You Were Wrong
5. Liquidation Totale
6. Chinese Apple