Wilco

Watch out, Ryan Adams. Your rivals are effortlessly inhaling the indie cred you desire. While Yankee Hotel Foxtrot was Wilco's first attempt to disassociate themselves from the alt country genre, Ghost pulls it off. The album floats cohesively and boasts some of the best guitar solo jams since Mark Kozelek decided he's Crazy Horse.

Hey, what happened to the funny noises? That's bound to be any fan's first reaction to
Wilco's latest metamorphosis, yet another sharp turn, in sound and mood, for a band that
seems compelled to change with every album. And in its own way, it's as eerie as anything
Wilco have recorded yet. Last time around, Wilco were dropped by Reprise Records
because songwriter Jeff Tweedy and mixer Jim O'Rourke baked all sorts of buzz... More >

Not counting the 11-minute synth drone that Jeff Tweedy says reminds him of his migraines, the most blatant of the mannerisms that riddle this privileged self-indulgence is its dynamic strategy. Play the soft parts loud enough to hear and the loud parts will demonstrate the limitations of your cheapjack sound system, you pathetic transistorized consumer clone. Fortunately, there is a counterstrategy. Play the soft parts as faintly as they deserve and you'll still be able to make out the guitar workouts that are the only conceivable attraction the album will hold for any neutral party not seeking an associate degree in sound engineering. Once Tweedy wrote legible songs. They didn't add up to much because he didn't, but they had their shallow charms. Here he's beyond such compromises. "Handshake Drugs" we get, and the NPR-ready one about the best songs not getting on the radio is a clever feint. But it's hard to imagine any of the suckers who fell for the Yankee Hotel Foxtrot hype striving to identify with, say, "Muzzle of Bees." Not impossible. Just hard. (Grade - B-)