There is something to please almost everyone from each chapter in queer singer/songwriter Bob Mould’s career on his superb new CD Body of Song (Yep Roc). Those intrigued by his recent ventures in the electronic realm will find themselves dancing with abandon to "(Shine Your) Love Light Hope", while his Husker Du and Sugar fans will rejoice over the blazing guitars of "Paralyzed," "Best Thing" and "Missing." Fans of his body of solo work are certain to connect to "Underneath Days" and "Always Tomorrow."

His gay fans will also find much to please them, including the flawless "Gauze of Friendship," my personal favorite track on the disc. The down-to-earth and good-natured Mould, who is hitting the road on tour in support of Body of Song, and who promises to perform material from throughout his multi-faceted career, recently spared me a few minutes to answer some questions.

AfterElton.com: From what I’ve seen, Body of Song has been very favorably received by the press. Do you read reviews or pay much attention to that sort of thing?
Bob Mould: Unfortunately, yes. I don’t mind. This one’s been overwhelmingly positive. There have been a couple of snarky ones, but that’s to be expected. I think it’s a good record. I spent enough time getting it right (laughs).

AE: Would it be safe to say that Body of Song is close to being the definitive amalgamation of your musical styles and tastes?
BM: I think so. I think a number of things are at work. One is that unlike three years ago with Modulate, I’m a little more comfortable with my legacy or my sound, whereas after the touring in `98, I was pretty much tired of my sound. I think I’ve reconciled that. It’s a strong suit and it’s what I do, there you have it. I think because of Modulate, and running so far away from it, I was able to learn a new set of tools that are strongly at work on this record. They’re just not as prominent as the guitar. There’s a familiarity there when people hear the big guitars. They go, “Oh, it’s Bob.”

AE: There’s recognition of your sound.
BM: Yeah. There’s a comfort with that and an understanding of how to integrate the electronics effectively into that. I think this is a fairly optimistic record, overall. I think my writing perspective this time is really simple songs and emotions. I think it’s not quite as oblique as some of the other work that I’ve done. It’s universal and immediate.

AE: "Circles" has what I think is one of your more political statements in it, with the lines “Tuesday, I walk to the Village/I know that my vote doesn't count anymore/I got my opinions about you/I keep them inside of the ballot box.” Would you say that you have become more politically active over the years?
BM: I think I’ve stayed the same. I’m living in Washington, DC for three years now, sort of in the belly of the beast. That line (from the song) is referential as much to being inside a relationship, as “it really doesn’t matter what I say.” I don’t know if I was being as overtly political as it might seem.

AE: Listening to a dance track such as "(Shine Your) Light Love Hope" made me wonder if you’ve ever had the opportunity to attend the Winter Music Conference in Miami or the Billboard Dance Summit in NYC?
BM: No, I haven’t. But Rich Morel, my work partner in Blowoff and my keyboard player for the tour this fall, he goes all the time (laughs).