The Man Who Broke the Mold

One of the most enduring figures in underground music, Bob Mould first garnered attention as a member of Minneapolis ’80s hardcore-punk trio Hüsker Dü. The group, known at first for their short and fast songs (which were nonetheless highly melodic and thoughtful), issued a string of albums and established Mould as a formidable guitarist and songwriter. In the ’90s he tasted more success with the combo Sugar, which scored a 1992 modern-rock hit with “If I Can’t Change Your Mind.” Mould has also issued seven solo albums displaying vast range, from the introspective singer-songwriter stance of 1989’s Workbook to the electronica-oriented Modulate in 2002.

While Mould’s career has always seemed on track, his personal life has often zigzagged. Early on, the rocker’s homosexuality was de facto knowledge among friends and close fans but not a matter of public record (which was also the case for his bandmate, drummer-songwriter Grant Hart). When Hüsker Dü split in early 1988, the media was more interested in the band’s problems with drugs, alcohol, and interpersonal squabbles. But as Sugar began its ascent, Mould was pressured to come out publicly, most notoriously in a 1994 Spin magazine feature by out Frisk author Dennis Cooper; Cooper and Mould had been friends prior to publication, but the article -- full of quotes Mould claims were not attributable -- cooled their relationship. The luxury of going public when he was ready, as did bigger stars like Judas Priest’s Rob Halford or George Michael, was not extended to the cult rocker.

Fourteen years later, Mould, 47, seems comfortable in his skin. With record producer and remixer Richard Morel, he DJ’s and hosts the long-running queer party Blowoff in Washington, D.C.; the duo also record and produce remixes under that same banner. And his latest solo album, District Line, has earned some of his best reviews in three decades.

Is District Line really as fantastic as critics say, or are listeners just catching up to you again?
We finally figured out how much money it takes to get critics to say nice things! [Laughs] I thought it was a good record when I was writing it. It felt natural, like the songs were easy in coming. And when there was difficulty, I was able to discern what needed to be done to make a song work or round the record out properly.

The last album, Body of Song, was technically a good merging of electronica and guitars. I started it in 2000 and finished in early 2005. It was written across a number of different emotional states, from partnered to single to dating, from pre-9/11 to living in the middle of 9/11 to living here. This one was written in the same spot the whole time. That gives it more coherence. Thematically, things move from one place to the next in a more sensible way.

In recent years you have been revisiting older material in concert. How did that feed into the new record?
Getting back on the road and revisiting the old songs with an electric band -- spending a lot more time with a guitar in my hands—led me to write a guitar record…as opposed to writing it with samplers or a combination of samplers and guitars.

I really didn’t want [the record label] to push it as “a return.” Because I never think of it that way. People are sort of uptight about that, including me. Whatever. I know why they do those things. They’ve got to get people’s attention. I’m not upset.

You have in the past described yourself as “a control freak.” Is that still applicable?
Other people pointed that out to me, and I became resigned to the fact that it might be true. And now…I like to be in charge. I don’t know that I need to be in control of everything.

A good example would be in ’05 and revisiting the band format. In putting the four guys together I thought more about chemistry and personality. Once we got together, I was not the ringleader. I was just sort of, like, Start and finish the songs together, and whatever happens in the middle, I’m sure it will be just fine. That was a huge relinquishing of having complete dictatorship over the song.

There are other parts of my professional work where I definitely put the iron fist on—but only because I care.