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CD Reviews
Morrissey | Years of Refusal
Lost Highway (2009)
By
ZETH LUNDY
|
February 9, 2009
YEARS OF REFUSAL
" alt="photo of 'YEARS OF REFUSAL'">
3.0
Stars
"Could this be an arm around my waist?" asks Morrissey on the final track of his ninth post-Smiths solo album, adding, "Surely the hand contains a knife." This fatalistic logic comes as no surprise, seeing as
Years of Refusal
has documented an emotional battlefield bereft of human contact, where kindness is AWOL, egotism is a means of survival, and death, the only absolute, makes for a constant companion.
In the soaring "I'm Throwing My Arms Around Paris," Moz declares that "only stone and steel accept my love." That's rough. It's also intentionally overblown, the scorned-boy pretense transforming disappointment into transcendent rock music. That transcendence is achieved with grandstanding familiarity throughout
Years of Refusal
.
Produced by the late Jerry Finn, the album is a slice of American rock radio, polished, compressed, and routinely combustible. The hooks are huge ("Mama Lay Softly on the Riverbed," wrapped in loss and mystery, and the flamenco-flavored "When I Last Spoke to Carol" are permanent fixtures in my skull), and so is Moz's pop-operatic voice, here a man-sized exhalation. I'm not giving anything away by noting that the singer ends up alone again by album's end — at least, alone as one can be while transferring the burden of solitude to the devoted masses.
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Morrissey | Swords
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Slideshow: Morrissey at House of Blues
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Unhappy birthday
It seems like only yesterday that I was huddled in the corner of my room, staring listlessly out the window through tear-smeared glasses, absently singing along to “Please, Please, Please Let Me Get What I Want” and wondering when my life would finally show my heart a modicum of mercy. . . . Oh wait. That was yesterday.
Morrissey | Swords
Morrissey — begrudging patron saint of all that is emotionally desolate and otherwise comfortably bummed — is but a mere mortal, as his recent collapse on stage proves.
Slideshow: Morrissey at House of Blues
Morrissey live at House of Blues, March 29, 2009
The Big Hurt: Sex Pistols perfume
I think I’d be a much happier person if I disabused myself of all my quaint expectations about artistic integrity.
The Drums | The Drums
The Drums' Jonathan Pierce has it all mixed up — today's fame-seeking musicians are trading in their guitars for keyboards, not their keyboards for guitars.
The Big Hurt: Attention whoring and headline parsing
Slow news week.
The Big Hurt: Lambert works it, 50 blows it, Moz ends it
ADAM LAMBERT 's spicy AMA performance continues to dominate entertainment headlines, weeks after it first scandalized the nation — but why does America care what a man does with another man in the secluded privacy of the American Music Awards?
James: Surviving the trends after 30 years
It's been almost two decades since Tim Booth of James stared blankly at the camera in the video for "Laid," garbed in a thin sheer dress with a metal handcuff around his left wrist, his now long-gone hair a poofy, curly mess.
Spring fever
As action-packed as the holidays are, they can be a real dead zone when it comes to decent shows.
That's how people grow up
Morrissey specializes in decadent enlargements of contrary emotions: he's got despair on lock, he's an excellent sculptor of ennui.
The Big Hurt: NKOTBSB hit the road!
Guys! You guys! Holy shit, guys: NEW KIDS ON THE BLOCK and the BACKSTREET BOYS are teaming up for a headlining tour in 2011.
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| April 24, 2012
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THE DANDY WARHOLS | THIS MACHINE
| April 17, 2012
The title of the Dandy Warhols' eighth record may be a Woody Guthrie allusion, but don't fret — the closest the Portland, Oregon, band get to politics here is a cover of Merle Travis's "16 Tons."
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ZETH LUNDY
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