Morrissey "Years of Refusal"

After a multi-year hiatus, Morrissey has returned to prominence with now his third album since his return to actively recording and touring following "You are the Quarry" and "Ringleader of the Tormentors". Reviewing records of artists with a rich backcatalogue presents me with an opportunity for much context because I can refer back to my historical knowledge of the artist and their past output.

'Something is Squeezing My Soul"
With an explosion of guitar this song heralds the beginning of this new release. Morrissey's literary style is so unique, his songs rich in meaning and double-meaning. One thing is clear is that his voice has not changed much throughout the years. I can't tell if there's wear on his voice which makes him sound the samem here as he did on Your Arsenal. While artists like Bono are struggling with vocal skills that are stained by years of yelling and projecting, Morrissey's vocal abilities are still intact. This track is punk/Smiths like in it's energy and propels the album forward quickly.

"Mama Lay Softly on the Riverbed"
Another quick start and Morrissey's ability to ask the right questions of his subjects draws the listener into the story. The melody doesn't quite stick as in the first track and seems a bit forced with "Mama Lay..." but the urgency/marching-like pace of the song's second half is redeeming. It's not clear if the "Mama" in this song is a maternal figure or a love interest or perhaps some kind of national entity that needs saving. Matt Walker's marching drums finish up this track well.

"Black Cloud"
A queer opening that builds with techno-laden synths underneath finding an instrumental crescendo at the end before Morrissey steps in. At this point Morrissey's band is tight and he can take them anywhere musically. Boz Boorer on guitar has been with Mozz for at least 10 years now. Similar themes for Morrissey are presented here, frustration, loss and hopelessness.

"I'm Throwing My Arms Around Paris"
With a quiet car starting up a delicate guitar leads into Morrissey's vocals that soar and take us back to his early-90's singles driven success. I hear "November Spawned a Monster" and "We Hate it When Our Friends Become Successful" but it's a welcome reference. Such is the case when an artist with a deep backcatalogue releases new material - it's the older stuff that the fans want to hear in addition to newer material as long as the new material isn't without perspective. The ending is abrupt for the point is well made.

"All You Need is Me"
Barks quickly out with a fuzzy bass and it's surprising how down in the mix Morrissey's vocals appear at times. Morrissey is very much a solo act but live and on record the sounds of his albums are not about him but also about the band he's put together. This is a track that makes Morrissey sound like the name of a band and not just a vocalist. With instrumental breaks and a catchy chorous "All You Need is Me" also harkens back to Morrissey's 90's output but with a strong energetic embrace and more Rock influences with less Pop.

"When Last I Spoke to Carol"
Morrissey's titles are so specific and call events and people into question that we are led to believe are part of his (or his character's) life. Carol - seems like a desparate fatgirl's name - with a latin flair that portends some kind of challenge or duel that Carol must undertake with Morrissey's counsel. In fact, it's a somber good-bye that Mozz has offerred up to Carol,wistful and longing - although not for a lover but merely a friend. Morrissey's wails of unhappiness lead into the horns and a strong rhythm-driven section that leads to a flourish and windswept plain-effects that imply Carol's remains blowing in the wind.

"That's How People Grow Up"
A yodel and wild hair up the ass of a female vocalist open this song with Morrissey singing in broad platitudes about society and his world of love and lust gone awry. Apparently it's not possible to mature without knowing loss and frustration in the game of love. It's all relative in terms of what it's like to be frustrated in love. Not all dead ends are mistakes or signs of panic. This message is at odds with Mozz's earlier material that makes it seem as though nothing else could be more important than finding that special someone which leads me to believe that Morrissey is subtly mocking his loyal fans who have learned to love his time-honored approach to lyricwriting.

"One Day Goodbye will be Farewell"
With a motorcycle's motor humming the band led by Solomon Walker's fuzzy bass find Morrissey sounding more operatic than usual. This message is more tragic in love and makes Morrissey the narrator out to be more of a brute and clumsy in love. An instrumental section with chimes and horns serves as an interesting bridge. A note of hope is offered up at the end that pleads for one last chance in love.

"It's Not Your Birthday Anymore"
A quiet opening shows more Morrissey than before. More twidling with the notion of birthday as a sacred day in one's life. Here Morrissey seems to debunk the entire idea of birthdays ironically being thankful that the person to whom this song is being sung no longer demands doting and favors on account of a birthday being celebrated. Even the sweet tone of Morrissey's voice belies the sarcasm that poo-poos presents of material value as meaningless when compared with real love and sex. In fact, the whole idea of a birthday being a special day of gift-showering and card-giving is trite to Morrissey at this point. As his voice carries into high melody you wonder if it's a symbol of exasperation. Thundering drums and cymbal clasps finish the song as the candles are blown out.

"You Were Good in Your Time"
Beginning with dialogue from an old French film from the 40's, this song would be a fitting eulogy to a departed film starlet. Without a trace of irony I can envision Morrissey singing this about a departed Joan Crawford, Helen Hayes or Katherine Hepburn. Lyrically straight-forward but musically haunting with a picked guitar and lush strings Morrissey's voice carries and lilts emotionally. Sonic effects of military variety punctuate the last 1.5 minutes with scary distortion and effects in a ghostly pastiche of music and sound with film audio playing in the background. Strings that scrape and screech point to an untimely death for the subject of this song.

"Sorry Doesn't Help"
Complaining guitars grind out the beginning leading to Morrissey's recounting of pleadings of forgiveness on behalf of the one doing the apologizing. But instead of the issue driving this song being love-related, instead it's a feeling of hopelessness that feeling sorry will not alleviate whatever situation has presented itself whether it be age, lost love or other seemingly unchangeable situation. Being sorry in itself isn't a solution or an action but just a hollow state that is often not shared with any meaning.

"I'm Ok By Myself"
Most of these songs break in abruptly and buffett Morrissey's vocals in a way that is unique and has been branded as Morrissey's style. The music in "I'm Ok.." is unspectacular with shades of what we've heard before. It's completely indistinguishable from other tracks on this record. But the lyrics on all Morrissey songs are usually unique and quite literate which is what sets him apart from most other Pop/Alternative artists and that is the case with "I'm Ok..". Showing a frustration with those who have not supported the narrarator in his endeavours the singer has elected to shun those who have let him down and to solider on alone. The frantic pacing and noisy finish redeem the weak opening of this song and a vocal/distortion effect makes Mozz' vocals seem distant. The song fades out quickly with a flurry of bass, drums and more distortion.

Depeche Mode "Sounds of the Universe"

These types of reviews are always tough for me when you consider what a band like Depeche Mode has meant to popular music in the 80's. Violator is one of the most important albums of the last twenty years and their 80's-era catalog featuring Catching Up with Depeche Mode is legendary. Trying to cash these checks has been an uphill battle for the band for years.

"In Chains"
With a 2001/Kubrick-like opening that features music-like bleeps and notations this segment must be an overt reference to the album name. The early part of this nearly 7 minute effort reminds me of some Violator-era minimalist material like "Clean". Already I'm thankful the grunge-like sound of Songs of Faith and Devotion has been forgotten (not soon enough).

"Hole to Feed"
A driving bass pulses throughout this song and combines with Dave Gahan's growl a sound he is not known for effectively creating. As much has been made historically about Gahan's drug abuse my initial response to this song is our first drug addiction reference. It could also be about fame and endless searching for meaning in the face of a clamoring public. Moments of this song don't quite work and make me think it should've sat in the studio a little longer. While "In Chains" shows us Depeche playing to their strengths they get a little lost on this one and try to do too much.

"Wrong"
The yell/singing style of Gahan kicks of this song and we have our first single of the album. The reason for the heavy radio airplay is clear. This track is as much like Violator as I've ever heard. But is this not what you expect to hear when you play a Depeche Mode record? At this point their potential for legions of new fans is somewhat limited. They're hamstrung by their own success and can't deviate too far from what they built their fame upon. Even younger fans who are familiar with their older material would expect something like this.

"Fragile Tension"
The keys here are steady and hypnotic an excellent example of the downtempo Depeche. As the razor sharp guitars enter in the song veers somewhere we can't follow. Only when the original keyboard-based theme returns do we know what they're doing. I never felt Depeche figured out how to successfully navigate their 80's synth roots with a guitar-based sound. When the guitars fade in the background and the synths/programming returns this is actually a good example of what Depeche can still do. What's interesting to me now is that 80's music has returned to popularity and Depeche should throw away the guitars and return firmly to their roots.

"Little Soul"
This is a lullabye for a drug-addled Wall-e sung by Dave Gahan doing a Frank Sinatra impression. Somehow Bruce Springsteen as a new Daddy inserted himself into Depeche Mode and now we have this mis-mas of sounds and ideas.

"In Sympathy"
An industrial/goth staticky beat opens this song with dusty guitar strings that lead into new wavey-keys and we have a sensible jumping off point for Depeche fans. Some of the background programming is actually reminiscent of the sound effects of early Atari/Activision video games. But the driving bass underneath coupled with the repeating guitar theme keeps this song together making it one of the strongest on the album. Believe it or not this track isn't too derivative such that it would induce scoffs from your average music fan who witnessed the 80's. The repeating vocals build to a crescendo at the end.

"Peace"
The synths that open this song are dark and brooding not unlike Front 242 but the connection to that EBM-era ends quickly when Gahan's vocals chime in with music effects that evoke optimism and hope. Hard to believe that the recurring chorus of "Peace will come to me" references John Lennon's "Give Peace a Chance" and a haunting chorus repeated ad infinitum above techno-like keys bring BT's _ESCM in as a reference point. Most Depeche fans are not used to such hope and smiles.

"Come Back"
The desperation that begins this track is reflected in the sonic pastiche of the first minute. Industrial clanging and metal-upon-metal mix with chimes and Martin Gore's dark synths. Many aspects of "Come Back" seem to have been cut-and-pasted from other Depeche Mode releases making this song seem completely unremarkable and therefore a little boring. Many points on "Come Back" sound like they were written by Trent Reznor whose rough edges were then blunted by Martin Gore. Clocking in at just over 5 minutes this track is the first one that seems to drag a little bit and is too long by about 3 minutes.

"Spacewalker"
The keys/synths on "Spacewalker" have an echo or delay on them that take the listener to space. Vocal effects sound like alien beings are trying to communicate via the Voyager space explorer or something. The only real experimental track on the album only this track seems a little dated but at just under 2 minutes is a nice respite from the serious music contained elsewhere.

"Perfect"
Beginning the final 1/3 of the album is a lamenting of a relationship gone wrong. Perhaps a reference to Gahan's rocky personal life that saw him flirt with death numerous times over the years this is another mature song that begs the listener to accept him warts and all. A lot of these older "rockers" never fully kick their drug addictions and just accept trying to manage them throughout their lives - this could be a reference to that.

"Miles Away/The Truth Is"
I like the driving programming and artifical guitars that build up Gahan's vocals that plead and explain. The best way for Depeche to include guitars is to arrange them way down in the mix as if they were another programmed/keyboard element and not something that drives the song which is how they are done here. The (ghost) guitar changes to southern gothic hypno-jangle at the midway point followed up by a very noisy soundscape. This nice mix makes "Miles Away..." one of the best songs on the album. The faded out echoing piano/keys drives home the distance theme.

"Jezebel"
Don't know who is singing lead on this track but it can't be Gahan. It's way too high and almost sounds like Alison Moyet (thinking of Yaz' Upstairs at Eric's) and that Depeche offshoot. The delicate keys add a nice spooky element here and is another strong vintage Depeche composition. The programming is heavy found-sound techno with what sounds like an early 80's casio underneath. No one can do this like Depeche and tracks like "Jezebel" show the band playing to their strengths and keep their longtime fans in their pocket.

"Corrupt"
At nearly 9 minutes my first thought is to groan. But the beginning finds the band in a good position to find their place. Another sensible use of guitars with the keys makes "Corrupt" sttand out. No keys/synths on Sounds of the Universe are as catchy as material from earlier in their career but the band is still trying to refine a newer sound that incorporates guitars or guitar-like effects in a sensible way that adds value. "Corrupt" grinds along but has a definite refrain that feels intuitive for Depeche fans. The imploring of how Gahan can corrupt as an old man who's done bad things and is looking back on his career/life is an effective tool but comes to an end with the rest of the song at around the 5 minute mark. I was afraid of this - hidden track. So we wait. Who does this shit anymore anyways? This is kind of retro - as was "Spacewalker" the electro-experimental track that gives listeners a break - as if Sounds of the Universe had been purchased as one complete album and not downloaded piecemeal. The final 45 seconds is tacked on as a reprise of "Wrong" and ends spookily pseudo-childishly like a nursery rhyme turned inside out; haunting like Children of the Corn.

Lily Allen "It's Not Me, It's You"

This must be all the rage in Britain. The record reminds me of a lot of the pop I heard while in Britain while I was visiting there in my two previous trips to the U.K. To be honest I can't remember the big single Lily Allen had a year or two ago so I'm approaching this album with fresh ears.

Everyone's At It
This is an up tempo dance number that seems like a downtempo club theme with a darker underbelly. I liked the way the song built at the beginning that creates a sense of forboding in the listener. The persistent theme of everyone being "at it" sounds a little sarcastic as if she's resigned to what people are doing and powerless to stop them despite her frustrations.

The Fear
This record seems to be somewhere between silly pop and just pop with a message and a real conscience. A treatise on fame and wealth with more heavy sarcasm lashing out at the media and our culture of celebrity. I never much cared for these types of songs feeling that they should remain the domain of rappers primarily as this kind of message in their songs is much more a part of rap culture. I do get the irony here as she seems to lament how hard it is to be famous and an icon. As if we're supposed to be feel bad for her and all of her problems. Meanwhile there are people out there who are having trouble paying their mortgage she's giving us her equivalent of navel gazing.

Not Fair
What is this a western? I like this song's unique cowboy feel. She's merging rockabilly with some kind of syrupy English pop. The Johnny Cash guitar works well with her vocals here although I can't help but notice that her vocals don't seem to vary from track to track despite the musical differences. This track busts on the lack of sexual prowess in the men she's been with. Why can't you bring me off", she seems to be wondering in an exasperated manner. Mocking how all men think they're wild cowboys in bed but "he's no good and what a shame". "You never make me scream" (not brought to orgasm) and it's "not fair". But this song is strong based on it's different musical base and effort to go somewhere else musically.

22
This may be the most unspectacular of the album's first third seemingly having no real personality or uniqueness. But the lyrics are strong and tell a real story with a coherent message. This fact alone differentiates her from much of the other mass market pop and warrants further discussion. The vocals are a tad different here and reference some of the new Motown/R&B styles of Beyonce or Kanye West.

I Could Say
A solo piano opening signals the heightened intensity of this track and pairs nicely with her vocals. I could do without the automated handclaps though. Here the vocals are almost sung through a filter and lack some of the necessary emotion that I thought I'd be getting when the song begins. I was anticipating a stronger more lovesick message than a general complaint about the boyfriend not liking her friends - these problems probably speak more to her fanbase of younger girls who watch ABC Family and want their boyfriend to be good to them and just fit in. The stops and starts of the track make this track almost a club hit with builds of intensity.

Back to the Start
The vocals here finally change to a plainspoken style that builds and changes at the chorous. But this track is stronger based on these changes as the vocals that carry the chorous are rapid-sung and frenetic. I like how the spoken vocal style and the piano work nicely together and then change at the chorous with the rapidsung vocals. The lyrics are more vapid than usual here but the musical bed carries this song through. The solo keyboard part could've been lifted off an early Yaz or Depeche Mode record and form a nice bridge to what could be a decent club hit. This is a lighter approach to lovesick relationship problems with lyrics that just seem to gloss over the problems.

Never Gonna Happen
An accordion with real handclaps this time, opens the song and creates a more whimsical beginning to this track that's much different than the rest of this album. The pacing and beat are also much different and un-club like. Almost like a fun, novelty song from the likes of Nancy Sinatra or a less coquette-ish Marilyn Monroe we almost hear a frustrated,mocking march just after the mid-way point. With a slower tempo and fun vibe this could almost be a crowd singalong.

Fuck You
A pointy-er piano opens the song but then the bass jumps in and forms a more formidable structure. The proverbial thumbing-of-the-nose at those who aren't in line with her way of thinking being those who she perceives as small-minded and narrow in their thinking. With a lot of quirky sounds underneath like burps, wheezes and cuckoo clocks, the attitude of this song could be more punk but is instead more childish (reminding me of the Beatles' "Good Morning, Good Morning" with all of the barnyard animals sampled) which of course references how these people behave and think - childishly.

Who'd Have Known
This is actually kind of a touching teenage-hood love story that's very cute in relating the details of a late-night hookup. This is not the kind of song I can stomach for very long and it's cute-ness becomes kind of unbearable after about 2 minutes. This is the equivalent of a long endless phone call between girlfriends in their late teens about a relationship getting off on the right foot. What's funny is that there's very little traces of irony here - it's the sincerity that makes it horribly sweet. This is the teen equivalent of Bruce Springsteen singing about how great it is to be a father at the age of 40 and just as interesting.

Chinese
With chimey-like synths beginning, this track has more of a dreamy feel but covers some of the most mundane aspects of life. There are simply not that many songs that sing so adoringly of "taking the dog for a walk, watching the telly, having a talk and then getting a chinese." This song is about as girly as it gets and with the love of being home and snuggling with a boyfriend. As for the music there is an interesting dance vibe with the dreamy synths that begun this track and the irresistable melodies around "get a chinese and watch TV".

Him
A celestial acoustic guitar begins and feeds a sense of wonder she has over the mystery of a man she's come across. The lyrics are extremely clever as she rhymes some of the most underlikely combinations and makes one think that she's with friends at the mall taking about all of the strange men (boys) that she crosses paths with. The bridge is a uninspiring electronic jam. But the man himself may have a darker side that she explores towards the end of the song.

He Wasn't There
With fake vinyl static this track is cabaret-like and could've been a Joesphine Baker outtake (in English of course) and just as whimsical. It'll bring a smile to your face as she gets a little cheeky implying that she's the other (younger) woman that a man had cheated with. Her vocals here have changed to be more child-like in a barely legal/jail bait sexual manner. Here she's playing the role of the other woman who's obsessed with the man who could get in a whole heap of legal trouble if their relationship were to ever be revealed.