When the wind forgets your name

"What separates the old Built to Spill from the current Built to Spill, aside from a few substituted roles, is their maturity. When the Wind Forgets Your Name feels like Martsch is more self-assured than ever. Like, he finally realized his position and learned how to play to his strengths as a songwriter. These strengths - especially a confident delivery - have been refined by age and experience, helping to produce the same version of Built to Spill, albeit enhanced, that can still contend with the best albums in their discography".

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"Their first album for Sub Pop (...) is filled with the kind of raggedly glorious indie rock they've been reliably producing since the very start, a loose and inviting, deeply emotional approach bolstered by Martsch's overdriven guitars, warped melancholy melodies, and keening, heart-tuggingly honest vocals. Working with a Brazilian rhythm section of Le Almeida and João Casaes of the band Oruã, Martsch delivers the expected Built to Spill goods with a little extra verve and attention to sonic detail. Keyboard overdubs, darkly psychedelic layers of sound, little pockets of dub, and the occasional bit of tambourine help give a batch of hooky, thoughtful, and weirdly uplifting songs an extra boost ... Martsch has evolved into a survivor (...) and he and Built to Spill have delivered a late-career stunner that easily equals their best work".

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"A rewarding one-off project of songs that underscore Martsch's talent as a songwriter and guitarist, while also showing him in a different light. May all his future collaborations be so inspired".

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"Built to Spill have had an ever-changing lineup with Doug Martsch as the only constant member, and here he teams up with Le Almeida and João Casaes of the psychedelic jazz-rock band Oruã. A stylistic deviation to that genre this is ot, with the opening "Gonna Lose" all archetypal fuzz-drenched heavy riffsled by Martsch's idiosyncratic vocal deleivery that sits somewhere between J Mascis and Neil Young. Album highlight "Understood" sounds particularly Young-like here too, but elsewhere Martsch sounds confident in his own skin, merging interlocking layered guitars, subtle melodic touches and licks that veer from crunchy to blissed out".