Skip to main content

IN REVIEW: Wilco - "Schmilco"


"At the moment I'm bored," sings Jeff Tweedy a little over ten minutes into his group's tenth album, and boy do they sound it. Schmilco is a sharp 180 from the restless and electric Star Wars; this, by contrast, is a record that presents the band at its most subdued, rarely rising above a breezy acoustic murmur. Even when it does get weirder and louder (as on Common Sense, the song referenced above), it's half-assed; the anti-soloing and off-kilter beat sound more like a band just recording whatever instead of the band that used to inject tension and dread into their experiments. There are a handful of decent songs here, and none left me totally cold, but there just isn't anything on this record that stands up to the trilogy of records released during their artistic peak (1999-2004). Hell, there isn't even anything that stands up to the three records they released after that. That's not to say the new songs are out-and-out bad, but I doubt any of them stand a chance of making most Wilco fans' personal top twenty list. Schmilco isn't a terrible album (I don't truly believe they're capable of that); however, the lack of ambition, energy and memorable songs dooms Schmilco to a terrible fate: it has a very real chance of going down in history as Wilco's worst album.

September 9, 2016 • dBpm/Anti-
Highlights If I Ever Was a Child • Someone to Lose • Happiness

Comments

Popular posts from this blog

Year in Rock 2025

  Alright, I've got some explaining to do.   By now anyone who's visited this blog is well aware of how infrequently I've used this space in recent years; aside from the occasional fertile year of content, I really haven't posted all that often over the last five years or so. There are many reasons for this, which have already been outlined in previous apology posts; but, essentially, it boils down to my own laziness and the cold reality that blogs are, like Refused (again), fucking dead. So, I wouldn't hold my breath for a triumphant return to reviews, or even semi-regular posts, but:   a) I feel like Year in Rock posts have always belonged here and, even though I've experimented with different methods of presentation recently and been satisfied, the "blink and you missed it" unveiling via Facebook stories this year was perhaps ultimately a disservice to the records I lauded. After all, cramming the list into short videos isn't too far off from ju...

Year in Rock 2014: And the Winners Are...

It's been a long year, and another great one for rock n' roll. While the pop charts were overrun with barely legals obsessed with their asses, rock soldiered on undeterred even as pundits (hell, in some cases even rockers themselves) mourned the genre. Sure, rock didn't dominate the money game in 2014, but that shouldn't evoke sad nostalgia and eulogies. Even for as little perceived impact rock music made, a hell of a lot happened if people had only paid attention. From grizzled vets adding jewels to their crown (Springsteen, Petty) to new beginnings (Against Me!, Antemasque) to happy returns (Faith No More, The Tea Party) and all points in between, rock continued to thrive, evolve and thrill in 2014. Enough talk. It's winning time. Your Year in Rock winners for 2014 are...

Headstones Are Getting It Right. And By "It", I Mean "Everything".

When Headstones announced they were finally getting together for a new record (a decade since they'd released one, as the band drifted apart and Hugh Dillon's acting career began to pay dividends), they did so by letting their fans get in on the ground floor. Headstones got self-promotion right. They started accepting pledges toward the funding of the new record on October 19th at their official Pledge Music site , with pledge items ranging from $10 (digital download of album) and $5,000 (a private Headstones unplugged show for you and your friends). Within a day, they'd reached 90% of their goal; as of this writing, they sit at 283% reached. Headstones got funding right. With a planned release date of March 26 looming, something happened. They messed around and got a record deal after a subsidiary of Universal Music (who had originally signed the band back in '92) loved what they heard, and wanted to release it worldwide. The logistics of these things tend to...