I sense a strong need in the indie-rock community for yet another Guided By Voices review, so here it is. Isolation Drills is the band's second fully produced record--and it's a great one. It more than makes up for the Ric Ocasek-produced disappointment, Do the Collapse, which actually suffered more from inferior songwriting than it did from misguided studio wizardry. While every Pollard creation contains moments of pop genius, Drills easily becomes the most consistent LP in the band's history, which is more an observation than a compliment--especially for a band whose inconsistencies often made it more entertaining. Still, it's exciting to report that Bob is back at the height of his songwriting prowess and this time the production accurately reflects what the band sounds like live.   

On to the songs then. The insanely addictive "Chasing Heather Crazy" and "Glad Girls" challenge radio to ignore them, which they will, but it's not for lack of properly placed and repeated choruses. I suppose it's OK for a 42-year-old father to still be writing girl songs, isn't it? It has been well documented that this is an introspective record for Pollard, who has drank and toured himself into a lonely apartment, and the LP seems fueled by an unrepentant, reinvigorated sense of purpose. This doesn't mean Bob's core approach to his music has changed much. "How's my drinking?" tells us that the Bob Pollard we've come to love isn't going anywhere: "I don't care about being sober…I won't change." For fans of a man destined to someday be appreciatively carted into pop heaven by a team of Budweiser Clydesdales, this is great news.

Tight pop songs are always welcome, but examples of what makes Isolation Drills compelling are found on  "Twilight Campfighter" and "The Brides Have Hit Glass." While it's unclear exactly what reservoir these songs are tapped from (ambiguity cannot be edited out by a producer), there is an emotional resonance to them that reminds me of REM's Automatic for the People. Not coincidentally, Pollard's singing has often been compared to Michael Stipe's. ("Fine to See You" also fits that record.) "Fair Touching" drifts back further than that with a hook reminiscent of Fables of the Reconstruction's "Driver 8." Comparisons are not criticisms for Pollard. He'd be the first to acknowledge his love of bands like REM and, more importantly, the Who. If "Skills Like This" isn't a lost Tommy track, then it's a brilliant interpretation of classic-period Townshend. Pollard is as much a fan of pop music history as anyone, and he's not afraid to call upon it for inspiration. While such an approach would sink some bands, it propels Pollard's unique vision of what a pop song can be within traditional parameters. What has always made Voices special is the combination of classic riffery and lyrical ingenuity, the latter an area where Pollard is nearly unparalleled. So, there you have it for the umpteenth time--the reaffirmation of GBV's greatness. In living stereo, no less.