Album Title
Artist IconWilco
Artist Icon Ode to Joy
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First Released

Calendar Icon 2019


Genre Icon Alternative Rock


Mood Icon Quirky


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Release Format

Release Format Icon Album

Record Label Release

Speed Icon Dawn Raid Entertainment

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Album Description
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Ode to Joy is the eleventh studio album from American indie rock band Wilco, released on October 4, 2019 on dBpm Records.

Recording and release
Wilco recorded the album in their Chicago studios in early 2019; on July 16, they announced the album, released lead single "Love Is Everywhere (Beware)", and announced tour dates. The live performances break a two and a half year hiatus for the band from touring and a year off in general. "Everyone Hides" was released as the album's second single on September 17, 2019.

Ode to Joy was met with positive reviews from critics. At Metacritic, which assigns a weighted average rating out of 100 to reviews from mainstream publications, this release received an average score of 82, based on 22 reviews. Erin Osmon of Uncut praised the album, writing, "It's a protest record only this sextet could make, one that rings loudest in its simplicity. It favours subtle textures and hushed vocals, and further reveals its wisdom with each listen." Prior to its release, Paste named this one of the albums the writers were most excited about for October, citing the band's diversity and calling this release, "larger-than-life soft rock full of both grand ideas about the state of our world and small musings about matters of the heart". Reviewing the album for AllMusic Mark Deming claimed the band were, "more than willing to explore the boundaries of their music, and they do so with the confidence and sense of daring that has marked their best work from Being There onward."
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Album Review
Wilco gets a lot of credit for being weirder than they actually are. Incorporating elements of genres ranging from krautrock to electronica, Yankee Hotel Foxtrot and A Ghost Is Born—two of the most indelible rock album of the aughts—suggested the band would continue to evolve beyond their alt-country origins. Since 2007’s Sky Blue Sky, though, they’ve pretty much been returning to the same well over and over again, blending together light electronic elements and straightforward rock structures, with guitar pyrotechnics thrown in to show off Nels Cline’s undeniable chops.

Wilco’s 11th album, Ode to Joy, doesn’t break out of that mold, though its sound is a bit more pared down. The project grew out of frontman Jeff Tweedy and drummer Glenn Kotche’s close collaboration, with the two forming the basic shape of the songs around the latter’s percussive ideas. The album’s primary sonic thrust is a driving, two-step march meant to evoke the rising tide of global authoritarianism, with current geopolitical climate influencing the album’s lyrical content as well. Tweedy insists that Ode to Joy’s title isn’t meant sardonically: Even in the midst of chaos, the album suggests, humans have a right to feel joy.

Wilco’s recent sonic stagnation has been an easy enough pill to swallow thanks to Tweedy’s lyrical gifts, and, indeed, his use of language is customarily suffused with a wonderfully poetic economy throughout Ode to Joy. The album is filled with small details that unpack the joy and the squalor of life in equal measure. “White Wooden Cross” is a gentle meditation on love and mortality, with Tweedy asking, “What would I do/If a white, wooden cross meant I’d lost you?” And on “Quiet Amplifier,” he sings, “I wish your will was mine,” a line that could just as easily apply to a personal crisis as it could to a political one.

Tweedy edges toward politics most clearly on “Before Us,” the central thesis of which is the repeated line “alone with the people who have come before,” which suggests that, while politics shape the future, we also have a responsibility to rectify the injustices of the past. Closing track “An Empty Corner” succinctly offers, “You’ve got family out there,” an outward-looking sentiment that shows Tweedy isn’t entirely without hope. As a vocalist, he’s often underrated, and the way his voice nearly cracks on high notes is deeply bathetic.

Some of the songs on Ode to Joy tap into the kind of sonic unease that the band hasn’t achieved since “Less Than You Think,” an 11-minute epic from A Ghost Is Born that captures the feeling of a panic attack. The beat of “Quiet Amplifier” sounds like jackboots goose-stepping across a town square, and the song’s production is compressed to the point of claustrophobia. It feels like a migraine—another of Wilco’s common musical motifs is trying to replicate the types of headaches that plagued Tweedy for years—until its last moments open to gentle, acoustic plucking, offering some relief. The percussion on opener “Bright Leaves” is high in the mix, giving it a Phil Spector-like monolithic sound, while “Before Us” is similarly percussion-forward, with a droning vocal take that approaches anhedonia.

Lead single “Love Is Everywhere (Beware)” is, perhaps, Wilco’s prettiest song in years, with some down-home finger-picking serving as a counterpoint to a swirling electric line. The lyrics find Tweedy threading a needle between optimism and defeatism: “Right now, love is everywhere,” he sings on the chorus, an odd sentiment given the state of the world. But darkness creeps in on the song’s bridge: “Right now, I’m frightened how love is here: beware.”

Ode to Joy can sometimes feel like a Tweedy solo effort. Cline is oddly penned in here; his guitar playing is unmistakable, but he never gets a chance to truly shine. Cline’s guitar parts on “Hold Me Anyway” and “We Were Lucky” are crunchy and powerful, with the energy of a coiled snake, but neither is as memorable as his solos on “Impossible Germany” or “Hell Is Chrome.” As a result, the album is a bit monochromatic, lacking the classic guitar heroism that has, in the past, allowed Wilco to buck the dad-rock label. Twelve years on from Sky Blue Sky, the band would benefit from opening up their sound again—and getting a little bit weird.

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