By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
Twelve years ago Nirvana was about to release In Utero, and Kurt Cobain locked himself in a bathroom, threatening to commit suicide. Twelve years ago the only thing as awe-inspiring as alternative music was the inability of thrift stores to keep flannel shirts in stock. Twelve years ago grunge was king, and Seattle was the hippest city in the nation.
So naturally it was time for Doug Martsch to leave.
Martsch left Seattle in 1993 and went home to Idaho. Having grown up in Twin Falls and lived for a time in Boise, the move back wasn't too much of a stretch. Besides, Martsch thought, it was just a temporary change of scene. He had ideas, he had songs, he had a front porch. Before he knew it, he had a band called Built to Spill.
But let's get our verbs straight here. Martsch didn't have a band; he was a band. It's not such a mind-warping concept these days, with "bands" like Bright Eyes (one guy--Conor Oberst) and Iron & Wine (one guy--Sam Beam) and Mountain Goats (one guy--John Darnielle) milking the underground and dominating college radio. But twelve years ago it wasn't exactly common for one guy to suggest plurality with a band name.
With bassist and former Caustic Resin member Brett Netson and drummer Ralf Youtz, Built to Spill released Ultimate Alternative Wavers. Not much happened. Martsch rotated his cast, dropping Netson and Youtz in favor of Farm Days buddies Brett (not to be confused with Netson) Nelson on bass and Andy Capps on drums. It was this lineup that recorded the 1994 breakthrough album There's Nothing Wrong with Love on the Seattle-based indie label Up Records. That same year, Martsch recorded with Beat Happening's Calvin Johnson as the Halo Benders and put together yet another new cast of Built to Spill to tour Europe and the States.
Not bad for a guy who says he doesn't like to do stuff himself.
"I was always pretty lazy and not very motivated," says Martsch, at home in Boise on the eve of the first national Built to Spill tour in more than two years. "When I was young and saw people putting a band together and putting out records, it was really exciting. The indie aesthetic appealed to me, but I never did it very well."
A new lineup of Built to Spill went on tour in 1995, playing the second stage of Lollapalooza. Warner Brothers noticed and signed Martsch, as Built to Spill, to his first major-label record deal.
Martsch wanted to keep the freshness of working with new people, but his sound wasn't quite as simple as the idiosyncratic guitar pop championed by the lo-fi bands of the day. Constantly having to relearn old material with new bandmates was less than thrilling, so Martsch re-recruited Brett Nelson along with ex-Spinanes drummer Scott Plouf. In true collective fashion, the resulting album, 1997's Perfect from Now On, featured a slew of guests and friends.
If you close your eyes and imagine what an indie-rock album circa 1997 sounds like, there's no way you're thinking of the sound captured on Perfect. It just doesn't sound like 1997. It's moody and dark, full of winding psychedelic riffs. The underground music scene responded in turn, lapping up the Built to Spill sound faster than they could ask you if you've heard of Neutral Milk Hotel. Very few ears could have possibly heard every layer of the music the first time through, and by necessitating repeated listens, Built to Spill inadvertently made itself the word-of-mouth band of the year. It's almost tantric: Wait for it, wait for it, and then....the fifth time you hear it, you're hooked.
The complexity of some of the eight- and nine-minute songs reinforced for Martsch the uselessness of changing band members all the time. When he headed back into the studio post-Perfect, Martsch ditched the collective and brought Nelson and Plouf with him.
Though he had a solid lineup for Built to Spill, Martsch was by no means ready to give up his method. Emphasizing the creative process that led to the more intellectual sounds and songs off his previous albums, Martsch engineered long jam sessions for the band. The results: ten tracks that make up Keep It Like a Secret, released in 1999 to overwhelming acclaim and--gasp--Billboard chart status.
All this while Martsch, fast becoming nationally renowned for his inimitable voice and slinky, stylistic guitar playing, lived the life of a hermit in a small suburb of Boise, Idaho.
"It's where we live," he says. "It's where my son goes to school. It's home. I don't miss the 'scene.' That stuff doesn't really matter. There's nothing I could do in New York or L.A. or Seattle that I couldn't do anywhere."
Except maybe be a rock star. If it was going to happen for Martsch, it would have happened after the release of Secret. Martsch brought his sound full circle into waves of distortion and cerebral pop that perfectly melded the legacy of '60s psychedelia with the recent history of '90s lo-fi. Secret tipped the boat for Martsch, cementing a place in the indie canon for his guitar work.