For a number of years, Built to Spill has been afflicted with the same curse as Spoon: consistent quality.  Like Spoon, who have released a string of exceptional albums since 2001’s Girls Can Tell, over the last decade-and-a-half Built to Spill have steadily produced a series of very good records since the one-two punch of the classics Perfect From Now On and Keep It Like a Secret made them heroes of the indie rock scene.  Both groups have a dedicated fanbase that has passionately welcomed each new release, but to some extent critics have begun to take the quality of the work they produce for granted.  At this point, excellence is to be expected.

Considering the circumstances, it is remarkable not only how comfortable and laid-back Untethered Moon is, but how neatly it fits within the band’s catalog.  In the six years since the release of There Is No Enemy, not only did Doug Martsch scrap an entire album, but longtime members Brett Nelson (bass) and Scott Plouf (drums) left the band.  Though it took some time for replacements Jason Albertini and Steve Gere to get acclimated to the group in their live performances, the transition is seamless on the album.  It is still true that the most important components of a Built to Spill song are Doug Martsch’s guitar parts followed by his trademark vocals, but the new rhythm section has seemingly injected some verve into the songs and rejuvenated Martsch to an extent, even if relatively few of their individual contributions stand out (the drum fills on opener “All Our Songs” and the bass melodies on “Never Be the Same” serving as notable exceptions).

What is most surprising about Untethered Moon is how restrained the guitar-playing is for the majority of the album.  Doug Martsch established himself as one of the Guitar Gods of the alternative scene because of his mastery of each fundamental part of the instrument; not only could Martsch rip out a brilliant and searing lead or create a catchy and memorable riff, but he also was able to precisely construct multiple-part epics that not only perfectly integrated those leads and riffs but managed to surprise listeners with their originality.  Consider how easily classics like “Carry the Zero” or “Kicked It In the Sun” shift between seemingly disparate sections that are nonetheless tied together by Martsch’s inventive songwriting, and how seamlessly Martsch blended multiple interweaving guitar parts.  There are only a few scattered moments that recall Martsch’s previous guitar heroics; instead it is a few select riffs or the occasional quick melody that leaves an impression on the listener.  With its tight, concise songwriting and the relative rawness of its fidelity, the closest analogue in the band’s discography is There’s Nothing Wrong With Love from just over two decades ago.  It is not as if the band has come full-circle though; they are just digging deeper into their repertoire for inspiration.

Untethered Moon lacks a memorable single like the ferocious live staple “Goin’ Against Your Mind” or a cathartic hidden gem like “Things Fall Apart” that are definite standouts, but instead has several strong tracks that will compete to be designated as the listener’s favorite.  When the band hits the road in support of the album, fans should look forward to hearing the band incorporate the new material into their live sets without a hitch, though the particular songs chosen may be a surprise.  Untethered Moon proves that Built to Spill is a well-oiled machine that keeps chugging along, replacing and assimilating new components without any problems whatsoever, and able to continue to produce quality albums well into their career.