Album: Sweep It Into Space
Artist: Dinosaur Jr.
Released: April 23rd, 2021
Highlights: I Ain’t, I Ran Away, Garden, And Me
The canon of rock music has no shortage of groups that made a career out of regurgitating the same format over and over again. AC/DC has spent nearly half a century writing variations on the same blues-infused hard rock framework; the Ramones were so technically limited all they could play were fast down-stroke tunes that were coated with lovely pop hooks; Motorhead put out twenty-two albums of furious and concise heavy metal nuggets whose brevity and speed were almost punk; The Fall became legends by creating thirty-one records in which a drunk curmudgeon from Greater Manchester rambled endlessly and unintelligibly over a clockwork-like industrial post-punk clang; and Dinosaur Jr. has been out in the wild for more than three decades mostly betting on the same recipe of loud guitars played with reckless abandon, beautiful melodies delivered with lazy vocals, and – of course – blistering solos that display mind-boggling skill.
Out of that entire list, which certainly could be longer, Dinosaur Jr. is the band that has been more successful at avoiding criticisms of artistic stagnation, and it is possible to understand why. Unlike AC/DC, the trio from Massachusetts never came close to having enough worldwide appeal to rake in millions of dollars via albums and tours; unlike the Ramones, they were never crowned the kings of a specific genre; unlike Motorhead, their output has neither been constant nor too prolific; and unlike The Fall, they are not lead by mad a man who has left a trail of bad attitudes behind him. As it turns out, there are benefits to being the lovable slacker underdogs of a genre that is, by nature, underground, and Dinosaur Jr. has absolutely taken advantage of all those perks.
Starting their thirty-first year as an active band and going into their twelfth album, nobody really expected J Mascis, Lou Barlow, and Murph to do anything different. After all, theirs has been a winning combination that has yielded no flagrantly bad works and given them an untouchable cult aura in the eyes of the few who have heard about them. Moreover, always followed by a slacker fame that has probably grown annoying, J Mascis is simply not the kind of guy who seems to have enough energy to leave his comfort zone. However, in “Sweep It Into Space”, Dinosaur Jr. sounds quite different.
It is not that J Mascis and the boys pull out synthesizers, go acoustic, or embrace the contemporary quirks of indie rock to perform singalong anthems. There is nothing that radical here. Much to the relief of Dinosaur Jr. fans, “Sweep It Into Space” is an album that respects the band’s signature: its constitution is guitar, bass, and drums; it features all the rough corners, in writing and performing, of garage rock; it sports lo-fi ethos; its guitars are loud; its songs have humble lengths; its melodies are of a captivating relaxed beauty; its instrumentals are almost always on attack mode; its solos are an utter thrill; and it is sung by a man whose weird nasal high-pitched drawl would be enough to keep him away from the microphone in any band where he is not the boss. What makes “Sweep It Into Space” so different are the little details, which within the group’s limited scope of work combine to bring change of a relatively big scale.
It is hard to establish where the shift stems from; maybe the guys just wanted a change of pace. But the album’s credits point to the man controlling the soundboard: Kurt Vile, of The War on Drugs fame. Out of all Dinosaur Jr. albums, “You’re Living All Over Me”, from 1987, had been the only one in which J Mascis did not act as a producer. In “Sweep It Into Space”, he shares the duty with Vile and the result is a bit tamer than usual. Gone is the screaming loudness that made listeners feel Mascis was always on the verge of blowing up an amplifier as they wondered if the album should not have come with some sort of label warning that putting one’s face too close to the stereo whilst playing some tracks could lead to deafness or mutilation. That big and dirty Dinosaur Jr. guitar chug is obviously still present, because that is what Mascis and his peers do, but what was once an impenetrable wall of furious sound is cut down to an angry parapet.
It is arguable that some damage is done in that process: Murph’s drums, which were usually given a very frontal space in the mix, are sent to the back and lose their usual pounding force; fans who prefer a more aggressive tone may look at “Sweep It Into Space” as the first time in which Dinosaur Jr. has sounded old and safe; and the fact Mascis’ voice is not shrouded in a loud instrumentation makes its natural awkwardness, which is usually lovable, the center of attention. But “Sweep It Into Space” also gains quite a bit from that new approach. Perhaps influenced by the knowledge his vocals would be upfront, Mascis pulls off a great performance within his limitations, almost going as far as expressing the feelings his lyrics talk about. More importantly, be it as a consequence of the emphasis on voice or due to inspired writing, the melodies are simply the most consistently excellent ever since those of “Farm”, the 2009 delight that proved the reunited original Dinosaur Jr. trio could still put out records that matched those from its classic era.
In addition, thanks to the production, “Sweep It Into Space” has some extra color in its tunes. Surely, as a Dinosaur Jr. work, there are examples of nearly all kinds of loud guitar playing: in “I Ain’t” they are a constant underbelly of noise; in “I Met the Stones” they flirt with metal crunch; in “To Be Waiting” there is a soloing guitar that draws sweet melodic lines on top of a basic strum; in “Hide Another Round” they play with start-and-stop riffs until letting it all loose in the chorus; and the list goes on. However, mellower details are also thrown into the mix, and they bring a nice variation to the album. “I Ran Away” as well as “And Me” underline their electric racket with crispy acoustic guitars that recall those of poppy The Cure classics “Just Like Heaven” and “In Between Days”, giving a breezy forward motion to these catchy tracks; guided by a piano, “Take It Back” swings in its chorus, making it feel like it was recorded while the band members danced around the room with joy, which is rather unexpected and unlikely; finally, Lou Barlow’s “Garden”, which might be the best cut of the record, has quiet-and-loud dynamics that enhance the inherent beauty of its gorgeously moving chorus.
Allied with the production, these details make “Sweep It Into Space” easily rank as the softest album Dinosaur Jr. has ever put together. As such, one’s enjoyment of the material contained within it will strongly depend on how tolerant that listener is to watching a band known for their volume and noise tone it down a little bit. If that notion is accepted or overcome after multiple listens, “Sweep It Into Space” should earn its place as not only one of the strongest works by the band since their 2005 reunion, but also as the most accessible and universally enjoyable point of their wonderful discography. Because, unquestionably, in their previous eleven records of racket, Dinosaur Jr. has eventually been more intriguing and downright better than they are here; but as beloved underdogs well into their fifties, these alternative legends have just put out their most unique work, and they did so without losing sight of their unmistakable essence.