Leechpit

Reviews:

It's almost impossible to discuss Pedro the Lion without addressing singer/songwriterDavid Bazan's religious affiliation; nothing seems more at odds with therituals of Christian practice than the hedonistic rock star life. Still, who isn'ta Christian in popular music these days? DC Talk sells a million records a popfor a major label, P.O.D. spreads the faith through hard-rock and funk, and theentire rap industry doubles as a PR firm for the Father, the Son and the HolyGhost. And considering that the emocore genre is practically bursting at the seamswith pious types like Jeremy Enigk and Dashboard Confessional's Chris Carraba,Bazan actually seems like he's going against the grain with this moody, ethicalconsideration of faith. Save one overt reference, which likens a sexual orgasmto the Divine Rapture (which, depending on how you scored on those internet "puritytests" is either blatantly sacrilegious or right on the money), Jesus Christdoesn't make any other guest appearances on Bazan's latest collaborationwith multi-instrumentalist Casey Foubert.

Control is probably the most epic, assured album Bazan has recorded-it'scertainly the most jaded. A concept record of sorts that charts a disastrous relationshipthrough the phases of courtship and marriage, countless adulterous affairs andultimately, death (a clear thematic parallel to the cycle of abuses chronicledon Ryan Adams' Heartbreaker), Control is most notable for its utterlydispirited view of American romance. Actually, the rancorous attack on socialmores doesn't stop there: he spits venom at everything from corporate culture("Indian Summer") to skin-deep perfection ("Magazine"). And,oh boy, the afterlife really doesn't have too much to offer in Bazan'seyes: "Wouldn't it be so wonderful if everything were meaningless?/But everything is so meaningful and most everything turns to s***... rejoice!"So how's that for moral uplift?