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Product Details
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Track Listings
| 1. Stupid Now |
| 2. Who Needs A Dream |
| 3. Again and Again |
| 4. Old Highs New Lows |
| 5. Return to Dust |
| 6. The Silence Between Us |
| 7. Shelter Me |
| 8. Very Temporary |
| 9. Miniature Parade |
| 10. Walls In Time |
Editorial Reviews
Amazon.com
District Line, Mould's seventh solo album, is a swell follow-up to his bracing 2005 return-to-rockishness record Body of Song. You'd think the guy's heart would get tired of having to beat upon his sleeve all the time--but here we are treated to ten new self-deprecating, brutally honest and often (weirdly) upbeat songs from the founder of Hüsker Dü and Sugar. It's hard not to cheer Mould on in his desire to meld electronic and hard rock elements--after all, he's been on this track for more than six years now. What's strange is that the best songs tend to be those that get lost in either genre rather than the hybrid exercises. One does wish that Mould would abandon that annoying auto-tune synthesizer thing on his voice once and for all. Though "Old Highs and New Lows" is so far towards and through modern MOR sound, it's definitely one of the more memorable tunes. The exceptionally talented Washington, DC resident busts out a few guitar-heavy crunchers that will remind old-timers of when they lost their hearing seeing either of those bands live. The best of these, "Return to Dust," should go on for longer than "Reoccurring Dreams," but is only four and a half minutes. --Mike McGonigal
Product Description
Guitarist/singer/songwriter Mould returns to form as a solo artist on his Anti debut. "District Line" combines the fire of his earliest work in Husker Du, the accessibility of his alternative rock, genre-defining trio Sugar, and the introspection found in his solo releases. He describes it as "stories of my simple life in a complicated town", that being his adopted city of Washington, DC. Working with Fugazi drummer Brendan Canty, Mould has returned to the live band sound of Husker Du and Sugar to kick out ten songs that sound as youthful, energized, and immediate as anything he has ever recorded. This is a full on rock 'n' roll record, featuring members of Fugazi, and will appeal to fans of that band, as well as new fans raised on Alkaline Trio and Against Me.
Customer Reviews
Most Helpful Customer Reviews
14 of 16 people found the following review helpful
Format:Audio CD
Bookended between two notable tracks ("Stupid Now" and the years' old / finally recorded "Walls in Time"), the bulk of Bob Mould's DISTRICT LINE is -- like the man himself -- honest, artful, and, for those of us who have followed his career since the beginning, subtle in its complexity.
On the heels of BODY OF SONG (arguably he's strongest collection of songs since WORKBOOK), DISTRICT LINE shows a Bob who is finally comfortable with the many aspects of himself that once seemed in conflict. Searing guitar riffs layer more organically over electronic blips and beeps. Acoustic guitar lead-ins find good company and solid grounding in Brendan Canty's drums. Even the cello returns! And keyboards fill in the empty spaces while a pop-sensibility sits side by side with some serious introspection.
Is it old ground? Certainly. But for the first time (BODY OF SONG included), Bob sounds satisfied with it all. Comfortable. Dare I say "happy"?
Some songs miss the mark in mix-down. Vocals seem lost in the otherwise rocking "Return to Dust" and "Shelter Me" throws everything but the kitchen sink into the mix. Perhaps the biggest disappointment? "Walls in Time" -- a song of such intensity and beauty that, when played live, has literally brought me to tears -- is a solid arrangement but lacks the vocal potency that Bob has shown countless times in concert (compare to some bootlegs out there and hear how these lyrics can truly move you). Still, the strength of tracks like "Silence Between Us" and the aforementioned "Stupid Now" more than makes DISTRICT LINE a keeper.
The familiar themes of lost love, missed opportunities, and the spaces between us are all there.
When, on "Again and Again," we hear "I'm OK, I've been OK, I'll stay OK," it seems we're privy to more than a lover's declaration of self-worth, but a statement of where the artist is at this time in his life. And while new listeners may find it hard to jump on the Bobwagon with this one, fans will find the journey continues for this open, honest artist that we have seen grow from an angry punk into a mature songwriter of considerable depth and talent.
Before I end, I wanted to say that I had the pleasure of meeting Bob during a DVD screening / show / signing for CIRCLE OF FRIENDS in Philly. He probably just thought I was another awkward bald fan who tried desperately to verbalize his music's importance in my life and, well, frankly, failed. And he would be right. I hope that, in some small way, my little review for amazon customers can make up for that awkward moment and maybe sell a few more CDs. It's the least I can do for a guy who has contributed to the soundtrack of many lives, like mine.
On the heels of BODY OF SONG (arguably he's strongest collection of songs since WORKBOOK), DISTRICT LINE shows a Bob who is finally comfortable with the many aspects of himself that once seemed in conflict. Searing guitar riffs layer more organically over electronic blips and beeps. Acoustic guitar lead-ins find good company and solid grounding in Brendan Canty's drums. Even the cello returns! And keyboards fill in the empty spaces while a pop-sensibility sits side by side with some serious introspection.
Is it old ground? Certainly. But for the first time (BODY OF SONG included), Bob sounds satisfied with it all. Comfortable. Dare I say "happy"?
Some songs miss the mark in mix-down. Vocals seem lost in the otherwise rocking "Return to Dust" and "Shelter Me" throws everything but the kitchen sink into the mix. Perhaps the biggest disappointment? "Walls in Time" -- a song of such intensity and beauty that, when played live, has literally brought me to tears -- is a solid arrangement but lacks the vocal potency that Bob has shown countless times in concert (compare to some bootlegs out there and hear how these lyrics can truly move you). Still, the strength of tracks like "Silence Between Us" and the aforementioned "Stupid Now" more than makes DISTRICT LINE a keeper.
The familiar themes of lost love, missed opportunities, and the spaces between us are all there.
When, on "Again and Again," we hear "I'm OK, I've been OK, I'll stay OK," it seems we're privy to more than a lover's declaration of self-worth, but a statement of where the artist is at this time in his life. And while new listeners may find it hard to jump on the Bobwagon with this one, fans will find the journey continues for this open, honest artist that we have seen grow from an angry punk into a mature songwriter of considerable depth and talent.
Before I end, I wanted to say that I had the pleasure of meeting Bob during a DVD screening / show / signing for CIRCLE OF FRIENDS in Philly. He probably just thought I was another awkward bald fan who tried desperately to verbalize his music's importance in my life and, well, frankly, failed. And he would be right. I hope that, in some small way, my little review for amazon customers can make up for that awkward moment and maybe sell a few more CDs. It's the least I can do for a guy who has contributed to the soundtrack of many lives, like mine.
4 of 4 people found the following review helpful
Format:Audio CD|Amazon Vine™ Review
(What's this?)
Bob Mould has always been one of those artists I've respected more than I've enjoyed. It's an odd kind of statement, I know, but there's a lot of artists who qualify: men and women who are artistically skilled, admired by their peers, masters at crafting songs or writing lyrics that ring true in all new ways...but that don't quite hook me. It's not that I'm unfamiliar. I own all of his solo work and have listened to most of my husband's collection of Husker Du and Sugar. It's just that while I've appreciated his music, not much of it has tended to stick with me. With this album, that changed. It was during the third song, "Again and Again," that I fell in love.
The first couple of songs are enjoyable, clever and inventive in some places, catchy and relatively radio friendly. Seconds after the third song started, I put it back to the beginning and turned up the volume. When it was over, I played it again. Strangely uptempo, it is an utter heartbreaker. I don't think I've ever heard Mould's voice so vulnerable and emotional.
Other tracks, too, have plenty of charm. "Return to Dust" and "Shelter Me" find Mould returning from that vulnerability to a more characteristic blending of his voice into the song, until it sometimes becomes difficult to separate it--a vocal trick that he uses to good effect to emphasize voice-as-instrument. The uneven sound levels of "Return to Dust" make it sometimes hypnotic. Mould's incorporation of elements from electronica into "Miniature Parade" and trance into "Shelter Me" have a similar effect. The strings in "Walls in Time" are gorgeous.
Mould is an artist, like Kristin Hersh of Throwing Muses, who has always seemed to me interested in developing different aspects of his musical genius in different projects. This is not a new face for Mould. What it is, in my opinion, is a good continuance into those aspects he's explored in his earlier solo work. He's trying on a little new, further developing a lot of old; continuing to reach and expand in areas he already knows well. There should be material here to appeal to old fans and to (hopefully) draw in new. I've always been happy to give Mould and his albums their props. This one, I'm happy to give my time and my full attention...and I won't be at all surprised if I head back to his earlier material to find that they, too, have magic I missed.
The first couple of songs are enjoyable, clever and inventive in some places, catchy and relatively radio friendly. Seconds after the third song started, I put it back to the beginning and turned up the volume. When it was over, I played it again. Strangely uptempo, it is an utter heartbreaker. I don't think I've ever heard Mould's voice so vulnerable and emotional.
Other tracks, too, have plenty of charm. "Return to Dust" and "Shelter Me" find Mould returning from that vulnerability to a more characteristic blending of his voice into the song, until it sometimes becomes difficult to separate it--a vocal trick that he uses to good effect to emphasize voice-as-instrument. The uneven sound levels of "Return to Dust" make it sometimes hypnotic. Mould's incorporation of elements from electronica into "Miniature Parade" and trance into "Shelter Me" have a similar effect. The strings in "Walls in Time" are gorgeous.
Mould is an artist, like Kristin Hersh of Throwing Muses, who has always seemed to me interested in developing different aspects of his musical genius in different projects. This is not a new face for Mould. What it is, in my opinion, is a good continuance into those aspects he's explored in his earlier solo work. He's trying on a little new, further developing a lot of old; continuing to reach and expand in areas he already knows well. There should be material here to appeal to old fans and to (hopefully) draw in new. I've always been happy to give Mould and his albums their props. This one, I'm happy to give my time and my full attention...and I won't be at all surprised if I head back to his earlier material to find that they, too, have magic I missed.
2 of 2 people found the following review helpful
By Luke Rounda
Format:Audio CD
A happier Bob Mould? He sure sounds comfortable in his current groove. Whereas his solo career has previously been marked by blatant pendulum swings between two polar opposites---indie rock and heavily-vocoded dance electronica---lately Mould has struck a cozy balance between the two. Modulate era fans will lap up "Shelter Me" while the traditionalists rally behind "Stupid Now," the hardest rocking tune on District Line outside of the blistering guitar and pond-skipping blip-blop synth duet of "The Silence Between Us." A (slightly overlong at over six minutes) acoustical outtake from Mould's Workbook closes the disc.
Even "Shelter Me" is accessible to those with an open mind. Dizzying, shimmery pad swells and android drumming sweep Mould's vocals along; any frugal plucks of guitar serve only as subtle accentuation, but the track is still far more organic, open and free-flowing than other dance club hitmongers like, say, Fatboy Slim or The Prodigy, summing up in a single track the direction which Mould seems intent upon steering his musical output.
While groovy all the same, the more "rock" moments on District Line tend toward an easy-going, midtempo head-bob the likes of "Very Temporary" and its simple vocal hook. Paired with some debatably awful lyricism for a musician of his history ("Just to please you, I'd blow my brains out, this is it/ Cut my heart out with a razor now"), it's easy to say that Mould is coasting on the waves he used to make. Given the wide appeal and success of Hüsker Dü, a band Mould consistently derides as contributing to some of the worst times of his life, it's also easy to see why. Still, "midtempo" is a word that never should have to be used to describe the musical output of someone who played guitar for the Hüskers.
District Line is a slam dunk in at least one sense: front to back, it's a great pop album which openly wields production and electronic garnish as worthwhile techniques, without allowing complete obliteration of the rock analog underneath. The edge and breakneck pace of Hüsker Dü have dulled and slowed, but Mould certainly isn't capable of writing a terrible song. He's just happier and easier-going now, and that's not necessarily a great thing if your fans happen to be agitated punks who still crave Sugar. Punks who can put down all expectations will grow comfortably old with Bob.
Even "Shelter Me" is accessible to those with an open mind. Dizzying, shimmery pad swells and android drumming sweep Mould's vocals along; any frugal plucks of guitar serve only as subtle accentuation, but the track is still far more organic, open and free-flowing than other dance club hitmongers like, say, Fatboy Slim or The Prodigy, summing up in a single track the direction which Mould seems intent upon steering his musical output.
While groovy all the same, the more "rock" moments on District Line tend toward an easy-going, midtempo head-bob the likes of "Very Temporary" and its simple vocal hook. Paired with some debatably awful lyricism for a musician of his history ("Just to please you, I'd blow my brains out, this is it/ Cut my heart out with a razor now"), it's easy to say that Mould is coasting on the waves he used to make. Given the wide appeal and success of Hüsker Dü, a band Mould consistently derides as contributing to some of the worst times of his life, it's also easy to see why. Still, "midtempo" is a word that never should have to be used to describe the musical output of someone who played guitar for the Hüskers.
District Line is a slam dunk in at least one sense: front to back, it's a great pop album which openly wields production and electronic garnish as worthwhile techniques, without allowing complete obliteration of the rock analog underneath. The edge and breakneck pace of Hüsker Dü have dulled and slowed, but Mould certainly isn't capable of writing a terrible song. He's just happier and easier-going now, and that's not necessarily a great thing if your fans happen to be agitated punks who still crave Sugar. Punks who can put down all expectations will grow comfortably old with Bob.
Most Recent Customer Reviews
5.0 out of 5 stars
"Beyond profane and holy word, a thought profound, but never heard"
I came in late on this CD and see Bob Mould has put out another CD since District Line (I can't keep up). I really liked Modulate and loved Body of Song. Read more
Published on August 16, 2009 by mwreview
3.0 out of 5 stars
Good album, not great
Pretty good collection of songs. I like Body of Song much better. This is worth adding to the collection but it won't make your favorites list.
Published on June 19, 2009 by Beezer
3.0 out of 5 stars
Solid solo outing by ex-Husker Du & Sugar singer/guitarist
I don't have a deep knowledge of Bob Mould's work with Husker Du or Sugar, but I enjoy this disk. The leadoff track, "Stupid Now" features a simple melody line but the chorus... Read more
Published on January 5, 2009 by Jack Fitzgerald
5.0 out of 5 stars
A jewel of good rock
Bob Mould its great guitar player and singer and compositor and... a legend. This is a great cd and buy it now!!!!!! Five or more stars
Published on December 18, 2008 by Jose Ruben Orantes Garcia
5.0 out of 5 stars
Great
A great return to form for Mr. Mould - every bit as good as his finest work, from Workbook to Sugar.
Published on October 16, 2008 by _porterhouse
5.0 out of 5 stars
In Bob We Trust
I've been a Mould fan since his days in Husker Du. I followed him through his post-Husker solo career, his days with Sugar (still the loudest rock concert I've ever seen), and his... Read more
Published on September 18, 2008 by Kinsey Millhone
4.0 out of 5 stars
Every artist's right: to try something new and to fail at it
After regrettably resigning myself to the thought "Bob Mould now sucks" (after Body Of Song and Modulate), all I can really write intelligibly about this album is "Thank you, thank... Read more
Published on August 8, 2008 by Stargrazer
5.0 out of 5 stars
Bob Mould - District Line
Proof that some things not only age gracefully, but actually improve over time, "District Line" by Bob Mould is probably the most accessible CD he's ever released. Read more
Published on May 28, 2008 by Tammi Ree
5.0 out of 5 stars
Excellent offering
Having become a recent Husker Du fan and a old lover of Sugar's "File Under Easy Listening", I was excited when Bob Mould put out this solo effort. Read more
Published on May 27, 2008 by Jacquelyn St Aubyn
5.0 out of 5 stars
Best album since Workbook
I was pleasantly surprised with this album. I fell in love with Workbook when it first came out and, to me, the music on this album comes closest to that style while still... Read more
Published on April 30, 2008 by M. Farr
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