A week ago, when “Love Etc.” charted in the UK at number 14, James Masterton from www.launch.co.uk mentioned the Depeche Mode syndrome of artists with established fanbase, whose records debut high on the chart, then drop like stones, never to chart again. Next he suggested Pet Shop Boys suffer from the said syndrome and asked dramatically: why do they bother?
While, generally speaking, I think James Masterton is a twat, he’s got a bit of a point here. It’s just that he mentioned it at an exceptionally bad moment. You see, the first half of this year sees albums from three of my favourite acts, each on the market for about ever, each suffering from the Depeche Mode syndrome. And the only one that actually justifies its presence on the chart — the only one that should still bother — is the Pet Shop Boys.
Morrissey’s recent album, “Years of Refusal” is a Morrissey bingo card. Long song titles? Check. Self-deprecating wit? Check. Self-pitying title? Check. “Nobody loves me and so I must aim my love at immovable objects of large size because they can’t escape”? Oh, I just summed down the lyric of the lead single, “Throwing my arms around Paris”. The triumphant return that was “You are the quarry” was stellar songwriting, fantastic soaring melodies, glorious production (long-term Morrissey fans, who hate synthesizers, tend to call it “cheap” but then, they would). “Ringleader of the tormentors”, the four worst songs off which were all singles, was patchy and uneven, but had its amazing, bombastic moments where Tony Visconti’s heavyhanded production shone — “Dear God please help me”, “Life is a pigsty”, “I will see you in far-off places” more than justified the plodding rest of the album.
“Years of Refusal” doesn’t offer anything that we haven’t heard. By that I don’t mean, you know, elsewhere. I mean things unheard on Morrissey albums. His band seems to get worse with every record — there is only one setting on Boz Boorer’s guitar, and Jesse Tobias seems to be doing something — the cover says he plays guitar — but maybe he’s using Boz Boorer’s guitar since I swear you can’t hear two distinct styles on the record. There’s some nice stuff — “Paris” is one of the most beautiful vocal melodies Moz produced in the last… well… three years, and “Something is squeezing my skull” has a great chorus. But that’s about it. It’s not even aggressively bad like “Your Uncle”. It’s destined to be the album that nobody is ever going to cite as the record that changed their life. Which is a sin for someone who was originally a part of The Smiths.
The new Depeche Mode album, “Sounds of the Universe” is out next month and I can’t really review it, because I couldn’t make myself listen to it more than twice. After their worst record, “Exciter” they seemed to realise they alienate the fans, don’t gain any new ones and bore the shit out of themselves even by having to play that kind of material live. The new frame of thought brought us “Playing the Angel” which had a few songs that didn’t last for 9 minutes AND had choruses. And then they obviously decided it was enough.
I fail to see the point of “Sounds of the Universe”. Perhaps it’s the ongoing bet that Anton Corbijn has with Peter Saville — who knocks the ugliest, most disgusting cover art in MS Word and gets paid for it? Saville seemed to win with New Order’s “Waiting for the Sirens’ Call”, but no, it is Corbijn who has the last word. Most parents print out their children’s doodles made in MS Paint and stick them on the fridge, Corbijn took his and made it the new Depeche Mode cover, but not after he embellished it with three fonts one of which looks suspiciously like Arial. (He spared us Comic Sans, but I’m sure it’s coming.)
Maybe it’s that Depeche Mode felt the call of the muse? That muse is a bitch, because she inspired an album that sounds like Exciter Part 2: And Now Without The Few Tunes That Were There. The ice-cold, clinical production makes it difficult to listen to the record altogether, same as it did with Exciter, but where Exciter’s saving graces were the tunes (as proven by “Freelove” there was nothing there a good remix wouldn’t fix), there’s none such stuff here — except for “Peace” and “Jezebel”, none of which strike me as possible single material. It will be interesting to see how Depeche Mode are going to promote this record further, because I swear there is one single on it, it’s “Wrong” and it’s out already.
Which brings us to the Pet Shop Boys’ Yes”. The lead single, “Love Etc.”, is killer. So. Good. And… drum rolls… THERE IS MORE. “All Over The World”, co-written by a certain Tschaikovsky, is as good or better. “Pandemonium” is italo disco gone right. “King of Rome” would have fit on Behaviour — the first post-Behaviour song to match these heights. “Did you see me coming?”, which is slightly stained by Johnny Marr’s guitar in its “Electronic, the second album” setting, is nevertheless a very catchy, summery, pop song. “Legacy”, the closer, is majestic, boombastic and amazing the way none of their closers were since “Jealousy”. Even the clunkers — the last clunker-free PSB album being, after all, Introspective — aren’t as bad as the 74 Fundamental ballads. “Building a wall” is the kind of song New Order tend to do when they are feeling particularly uncreative, but with Sumner’s monotone it sounds better. “More than a dream”, a stomping pop song, would make the best Girls Aloud single ever, but there’s nothing remotely Pet Shop Boys about it. “Beautiful People” is Pet Shop Boys doing the Sixties. Don’t know about you, but to me that is a bad thing. I have Saint Etienne for this kind of job. But… the other 8 songs make up for those 3. “Legacy” itself makes up for at least two, with its couplet “you’ll get over it, and I’m on your side, because…/you’ll get over it, and WHAT A RIDE IT WAS” being my favourite Pet Shop Boys moment since Paninaro 95.
No, James, I don’t expect any of those albums to stay on the charts for a long time. Pet Shop Boys started — after Monday sales — at #1, to drop to #4 on Sunday. Morrissey’s CD is out of top 75 after, what, three weeks? Depeche Mode’s album isn’t out yet, but I don’t expect any better. But you know James, the current number one — two weeks on top — is Ronan Keating’s compilation of songs his mum liked. Songs as striking and exciting as “Time after time”, “I believe I can fly” and “Carrickfergus”. OMGZ Ronan’s momma liked boring midtempo crap! Now, James, according to you this is the act that has a point. But whatever that point is, I’m better off listening to Yes.