Chasen-c.’s Neighborhood

Kordan, I’m still befuddled.  When I finally sat down for a proper listen of Longing, my immediate thoughts were “where did I go?” and “how long am I staying for?”  As I’m sure I mentioned in previous reviews, the power of Kordan lies in their ability to transport listeners to a strange, rich realm of multi-sensory experiences.  Perhaps that’s an exaggeration; but for most of us, whose lives are defined by shopping malls, mid-size vehicles, Starbucks lattes, and the occasional wild night of domestic brews and bar darts, Longing feels like a vacation from the mundane.  We will never be this hip, but for roughly half an hour we can pretend.

The Longing is essentially an elaboration of Fantasy Nation, Kordan’s first EP released July of last year.  Same bag of tricks, that is.  Dizzy, spacious sound layers over a steady beat—at the core, dance grooves with an experimentalist complex.  Where Fantasy Nation tapped the club vein, Longing searches for the abstract quality of pop music.  Listening to the album is like listening as a musician attempts to define city or love or life simply in audio.  Of course, this reads pretentious, as does any creative adventure that involves conceptual thought.  The reason I’m not harder on Kordan is simple:  despite the possible pretense, I can’t imagine the band playing any other style of music than this ultra stylized pretty.  There’s truth in purposeful cool, even if it’s easy to spot the GWBs (Girls With Bangs) and BWGs (Boys With Glasses) somewhere in the crowd.

Thanks to production magic or magic hands, “Fantasy Nation” and “Tokyo Tears” softened a bit from their EP debut:  flavors steeped, mechanics fine tuned, less thrust more lust.  Actually, compared to Longing, Fantasy Nation sounds decidedly reduced, as though Eisele and co. were practicing for grander occasions.  Such is the occasion.  Besides “Fantasy” and “Tokyo,” tracks like “Mirror” and the haunting “Shinjuku” stand out while in sum, the album remains fairly amorphous.  Eisele’s distant vocals amidst the instrumental mixed bag keep Longing interesting, but I wonder what’s next for Kordan.  Logically, the progression favors total ethereal bliss (as it is, the lyrics seem secondary), but I accept all bets. 

For now, the band keeps busy with live shows in and around New York City.  Visit their Website / Myspace / Facebook for more information. The Longing is set to officially release in February of 2010.  You can preview the album here.

It's hard to believe that it's been a decade since Y2K.

In 1999, the doomsayers predicted the end of the world as we know it - in the form of computers all over the world crashing because of the so-called millennium bug. It never made sense to me, I mean if it were a problem, couldn't you just change the date ?

I spent the New Year's eve in Vietnam, away from civilization. The next day, nothing changed. Not even an incident. All that scare were for thing. But it wasn't all for nothing, the Y2K bug inspired quite a few things - among them, music, televisions, and books.

WHO'S AFRAID OF Y2K?
geometrid.co.uk ♥ myspace.com

There was a period when I tracked down all the projects that were related to Belle & Sebastian, including The Gentle Waves/Isobel Campbell and Looper. Looper was was basically B&S's Stuart David and his wife, Karn, who actually met via penpalism (as told by their song, Impossible Things).

They did garner a bit of fame through "Mondo '77", a really great catchy "binary"-video gamey song (it's been featured in Vanilla Sky, video games, and anti-drugs commercials). But unfortunately, their third (and final?) album, The Snare did not have any really catchy songs. The ruder and darker themed album was due to David's book The Peacock Manifesto (whos character also appears on the cover and songs of The Snare).

Anyway, in 1999, Looper released a double A-Side called Who's Afraid of Y2K? and Up A Tree Again, which I picked up, among other singles, at a Flaming Lips show (Looper was opening up for the band).

Both are excellent songs, although there were two remixes of "Up A Tree Again". I normally don't like remixes, but these were pretty different from the original album (which actually sounds pretty stale compared to these upbeat mixes). The "singles mix" of "Up a Tree Again" was interesting to say the least, focusing mostly on the "la-na-na-na" section and DJ-scratches, while the Chocolate Layers remix was pretty much only the "la-na-na-na" section.

Looking back, I suppose "Who's Afraid of Y2K?" song was a bit of novelty. Ironically enough, the song was awashed in electronic quirks and beats - all the things that Y2K would've destroyed supposedly.

Currently, Looper's on hiatus. I haven't heard much in terms of a new David novel or Looper release. Most of the recent releases were made free on their website, geometrid.co.uk.

BRAVE OLD WORLD
dccomics.com/vertigo

I thought the concept behind this William Messner-Loebs-written Vertigo mini-series was interesting enough: a group of computer hackers working on a solution to the Y2K bug at the end of 1999 - only to find themselves in 1900.

The series explored some interesting concept, like what would you do, if you had all this computer/understanding of technology, only to be trapped in a world that still operated via candlelight? The women in the comics had it worst, let's face it, women didn't exactly have freedom back then. And if you were doing something strange, you're a witch and killed, etc.

So what's the group to do to try and back to 2000? They had to build a computer, by "inventing" their own technology.

Like I said, a very interesting concept. It sort of got a bit boring towards the end (by the last issue, I didn't really care for the characters so much).

Vertigo comics has yet to collect this in a trade, I suppose after the Y2K fiasco, it probably wouldn't be worth reading. I mean, we all know as fantastic as going back in 1900 would be, it didn't happen - just like the Y2K didn't happen. Still, if you want to re-live what it was like, or what Messner-Loebs was thinking back in 1999.

PREPARE YOURSELF FOR Y10K

Chances are, I'll be dead, so I wouldn't care so much what would happen. Wikipedia thinks it's a problem, but I suspect by the year 10,000, that our computing technology would be so advance, it wouldn't amount to anything.

Until then, have a great New Year. Take care of each other. I'll see you in 2010.

Subscribe to our show at gcast.com (RSS), more information at podcast.w♥m.com.

BRITPOPCAST #6: THE GIRLS OF BRITPOP (wave 2)

The show was actually longer, but I'm including more Jarvis-stalking festivities until next week. This week is all about the second wave of girls of Britpop (the first wave consists of Powder, Sleeper, Salad, Echobelly, Elastica). Since we've talked so much about them already, I thought talking about the second wave was a little more interesting.

Second wave:

• Kenickie (Lauren Laverne - all girls band)
• Kenickie, believe it or not, was the only all-girls Britpop band.  There was another band called Fluffy around this era, but they were more hard-rock than brit-pop.  While Fluffy's ultimate was branded with "eight tits no talent", Kenickie was more loved in general.  While their music is often more polished punk/pop early on, they shifted their sound to more lounge for their second album.  Obviously the band was still in their infancy ... but eventually broke up shortly after the second album.
  
• Lush (Miki Berenyi & Emma Anderson)
• In early Lush's history, they were two best friends, Miki Berenyi & Emma Anderson.  They were fanzine producers, and started their own band based on their love of shoegazing music with their EPs and debut album Spooky. You can hear their love of melodies as they sing in and out.  Of course, when you have two songwriters, they often clash if they have other interests.  In this case, at the time Split came out in 1994, some of the songs were clearly "britpop"esque.  Even the naming of the album (Split) was an indication, between aggressive pop songs like "Kiss Chase" and "Hypocrite" - the britpop songs would later continue with "Ladykiller" and their ultimate britpop moment with Jarvis Cocker on "Ciao!"  While I did tend to like the Miki songs, Emma did coin a few great pop gems like "Shake Baby Shake" (which is about the love of her car).
  
• When we heard that drummer, Chris Acland committed suicide by hanging himself, we all knew the band would be split up after this.  And it's true, they never quite recover.  I was lucky enough to catch them before the tragedy and continued to follow to see what the band's been up to.  The last I heard, Emma is in Sing-Sing, which had a great pop song called "Feels Like Summer".
  
• Catatonia (Cerys Matthews)
• Since we previously talked about Catatonia in our previous Welsh Britpop bands, I'll only briefly mention them here.  The thing with Catatonia for me was that each of their song was either a hit or miss... no inbetween feeling.  I either hated or love it. But the songs I really love, I really love, so that makes up for them.  I love the way Cerys sings, in fact, all Welsh people have a particularly weird accent to them and it's always a nice earful when you do hear them sing or talk.  It's like they're speaking English, but learned it from another planet.
• Favorite songs: "Mulder & Scully", "I Am the Mob", "Karaokee Queen",  "Road Rage", "Dead from the Waist Down"
  
• Theaudience (Sophie Ellis-Bextor)
• This was a very brief band from 97-99, fronted by Sophie Ellis-Bextor - who went on to have a series of very successful Eurodisco releases.  I must admit, I never followed the band that much - they arrived a little too late for me.  I didn't buy their debut album (it was never released in the US), but managed to get their debut single, "I Got the Wherewithal".  The song is quite good, and even their b-side "Penis Size and Cars" is amusingly catchy.
  
• Bis (Amanda MacKinnon)
• I love this Scottish band.  Although they were far too "kiddish" in their cute unreadable spellings and anime-influence, they were pretty damn cute and catchy.  Songs like "Kandy Pop" topped many playlist around this time, although in retrospect, looking back, it was a pretty mindless dum (dumb as in DUM) song.  Unfortunately, many people, including myself, didn't regard Bis as a Britpop band, but they're often grouped in.  My favorite song: "Action & Drama"!
  

Honorable mentions:

• Black Box Recorder (Sarah Nixey)
• Very catchy/dancey, but not Britpop.  Their bassist is Luke Haines, formerly of the Britpop band The Auteurs.
  
• Dubstar (Sarah Blackwood)
• This British act came out during the birth of Britpop, but they were far too alternative-dance/electronica to be considered Britpop.  The singer is Sarah Blackwood, who, I reckon the band ditched toward their later music releases.
  
• Sneaker Pimps (Kelli Dayton)
• Fluffy
  
• Republica (Saffron)
  
• Fat Les (Lily Allen sings on their last single???)
  

Dear Minnesota,

I’ve been a little busy performing Christmas miracles, lunching with the Obamas, and bestowing bad karma. But I wanted to send you a quick note to say I’m sorry. Sorry for the snow. If it makes you feel better, I was aiming for Wisconsin.

Love,

GOD. 

Cold, sad Midwest, warm your hearts this season with a music video. Inspired by the misery of being on weather lock-down, our friends in UltraChorus spent the holidays shooting a video for “Margins” (from the recently released Ultra-Def).  The finished product is both wistful and mildly unsettling (the shaky camera, bright lights, creepy slow walking, and 2:24 – 2:30 reminds me of a dream I once had wherein the unassuming drifter killed me in the end).  Check it out!

Also, Minneapolitans, mark your calendars:  UltraChorus is playing at the Kitty Cat Klub this Saturday, Jan. 2^nd (2010!).  Visit their Myspace or website for more information.

UltraChorus "Margins" Video

 12/29/2009 00:51:52 ♥ lara (/lara206.vox.com) ♥ ultrachorus.com ♥ myspace.com/ultrachorus 

BRETT ANDERSON
brettanderson.co.uk ♥ myspace.com

Those who follows our W♥M Podcast, you'll know that between Sally, Kristen, and I, that we really, really love our Britpop music. When Suede burst on the scene, with all their hype*, I was a bit, what's the word? Resistant.

I eventually got over it when I heard Metal Mickey, a nice rock n roll glammy track with aggressive Butler guitars and Anderson's unique voice. The songwriting duo of Anderson/Butler did not last for long, and Butler's replacement, Richard Oakes, seems only a pale copy of the original. I think everyone knew that, and eventually, Bernard Butler and Brett Anderson got over their differences and re-united - but not as Suede... they were then The Tears. I think everyone was confused on how to interpret it at first (personally I think it's like tears/crying, not ripped/tear).

The Tears didn't live for very long, and by 2007, Brett Anderson releases his inevitable solo self-titled album. I never bought his solo stuff, because I don't think his music post-Suede's Head Music** were ever re-release or re-marketed to the US audience, so the few promo downloads that he's made available for free, I wasn't so impressed with. I remember thinking his debut solo album was trying to be orchestral (based on what I've heard).

Imagine my surprise when I got a chance to listen to a few tracks from his latest album, Slow Attack, officially via We7.com. It was all very operatic, almost minimalistic in its approach of piano and percussions. I did like that it brings out Anderson's voice loud and clear, but it generally made all of his music to be on the sadder end of the scale.

While I think one or two slow songs would be OK for a full length, all of the tracks I sampled were in that very similar tone. Kind of ballady and depressing.  I kind of miss the old Suede stuff. The only redeeming value is that at least, his voice isn't altered/over-produced as with Suede's Head Music and Coming Up.

I suppose, Anderson's much older now, wow you can see his cheek bones sticking out of his face... such a difference of imagery, from a time when mean-spirited fans were calling him "fatty" (we all kind of knew it was the getting off the drugs that was causing the weight thing... allegedly).

Anyway, if you were looking for the glory rock days, don't bother looking into Slow Attack. If you're a hardcore fan, chances are you probably own the limited edition anyway. The album will probably not be released in the US, as were all his previous releases. Import costs are generally cheaper these days, but expect to pay about $20 for an import album (Amazon is listing $19).

Brett Anderson is touring in 2010, so if you live in the UK, you can relive your youth days. If he were touring the US, I might leave my hibernation to see him. As you know, I've met the band before at a special "after-party", I'm sure he'll have no idea who I am.

* "Best Band in Britain" before releasing their album? Really, Melody Maker, really??)
** Suede's last album, A New Morning was never released in the US.

TRUE NATURE
truenatureband.com ♥ myspace.com

As you know, I also run a website on artist George Perez, and it's rare when my music and comic website mix. How does True Nature and George Perez cross paths, you ask? The cover artwork for True Nature's EP, Feels Like Centuries, stars actress/model Tonya Kay (with some artwork and directions from Glen Wexler).

Perez, through his associations with Fetish Con, have actually drawn Tonya Kay as a print, for Fetish Con's "Who's the Best Bondage Super Heroine?" contest. The original artwork was auctioned off for charity.

So, there's the connection. As for True Nature's EP, Feels Like Centuries, based on the cover artwork, it looks like they're also marketing themselves as somewhat of a spiritual rock band. I reckon if you like classic American progressive-type rock, you might enjoy this EP. Despite having only five tracks, the EP is "centuries" long (so long that it felt like a chore to get through). It's not that I dislike singer/songwriter, Lou Barlow's vocals, it's just really not the type of music I enjoy.

Their best track is the opening song, "Truth I Have To Steel (Simple Heart)", which started off strong and remain steadily so throughout the song. You can sample the entire track on their official website.

You can pick up Feels Like Centuries at CD Baby or Amazon. Although, not really my thing, I'm glad that there was at least a common connection for me.

ELIZABETH & THE CATAPULT
elizabethandthecatapult.com ♥ myspace.com

The last time we mentioned Elizabeth and the Catapult, the song "Race You", went straight to the top ten on The Hype Machine. And it's easy to see why, the song is such a fun and cute pop song.

This Christmas song, "Christmas with the Jews", is also fun and cute (and not to mention quite short). But what you're thinking when you're listening to this song, is "er, aren't you forgetting Hanukkah?"

Maybe you can ask them if you see them live:

01/28/10 The Barn Clinton, New York
02/05/10 World Cafe Live Philadelphia, Pennsylvania
02/06/10 8x10 Baltimore, Maryland

THE JOY FORMIDABLE
myspace.com ♥ twitter.com

When I first heard of The Joy Formidable last year, I was impressed. I said I saw "lot of potential" in this band. Based on the free Christmas song, "My Beerdrunk Soul is Sadder than a Hundred Dead Christmas Trees" (available at musicglue.com), I'm still loving the vocals by Ritzy.

Maybe there was a problem with my download, but the MP3 track is 4:56, where the last 30 seconds of the song is complete and utterly garbage... it sounds like it was encoded in error and not part of the song. I've edited out the crap part for you.

The tour information they sent me is as follows:

January 2010.
Fri 8 USA New York Terminal 5 w/Passion Pit.
Sat 9 USA New York Terminal 5 w/Passion Pit.
Mon 11 USA New York Union Hall.
Tue 12 USA New York Pianos.

February 2010.
Sun 21 Norway Oslo John Dee w/The Temper Trap.
Mon 22 Denmark Copenhagen Vega w/The Temper Trap.
Tue 23 Denmark Copenhagen Vega w/The Temper Trap.
Wed 24 Sweden Stockholm Debaser Slussen w/The Temper Trap.
Fri 26 Germany Hamburg Molotow w/The Temper Trap.
Sat 27 Germany Berlin Postbahnhof w/The Temper Trap.
Sun 28 Germany Cologne Gloria w/The Temper Trap.

March 2010.
Tue 2 Germany Munich Atomic Café w/The Temper Trap.
Wed 3 Germany Frankfurt Nachtelben w/ The Temper Trap.

THE MANCHESTER ORCHESTRA
themanchesterorchestra.com ♥ myspace.com

We're on Day 10 of the 12 Days of Christmas, so hurry on over if you're a fan of the Manchester Orchestra. Each of these songs are acoustic live versions of their song. My only complaint is that you have to listen to these songs on the computer - so if you've got 30 minutes to spare, sit and listen away.

My favorite track is "One Hundred Dollar", you can simply hear the anger as singer Andy Hull asks to borrow $100. While the song is short and doesn't offer much explanation, you, as the audience makes up your own background to the song. Anyway, the song is from their latest album, Mean Everything to Nothing, they'll probably be playing loads of their new songs on tour:

01/29/10 Salt Palace Convention Center^{^} Salt Lake City, Utah
01/30/10 The Fillmore^{^} Denver, Colorado
01/31/10 The Black Sheep* Colorado Springs, Colorado
02/02/10 The Marquee* Tulsa, Oklahoma
02/03/10 Juanita’s Cantina Ballroom* Little Rock, Arkansas
02/04/10 New Daisy Theatre* Memphis, Tennessee

^ with Brand New
* with Harrison Hudson

SIA
siamusic.net ♥ myspace.com

Finally, we have Sia. This actually has nothing to do with Christmas, unless you count getting a new music video as a holiday gift. But just talking about the video for "You've Changed" isn't enough to warrant its own article, so I thought I might as well stuck her here.

Sia has always seem to me to be this child trapped in a grown-up's body. The latest video is wonderful, it features this weird stop-motion, "dress up" video-gamey feel to it. I don't know who's idea it was, I'll bet it's a combination of Sia's child-mind and director Dennis Liu of @radical.media, but it came together pretty great.

Be sure to watch the high-resolution video of it (you'll need it to read the song lyrics scrolling at the bottom).

Straitjacket Escape ♥ photo by Dave

Indie pop isn’t usually described as epic. Adorable, precious, and cloyingly cute? Yes. But epic? Not so much. Fanfarlo seems to be the exception, and they proved this point on Friday night, when they had a man suspended upside down from the rafters and escape from a straitjacket. This happened within the first five minutes of the show, during the orchestral behemoth that is “The Walls are Coming Down.” It was like a Bruce Willis movie, but with less explosions and more glockenspiel.

The straitjacket incident was obviously the most epic moment of the night, but the theatrics didn’t end there. There was interpretive dancing, rogue boomerangs, and a pretty intimidating box accordion. Throw in a picturesque stage setting and a watering can attached to the drum kit, and it wasn’t an average Webster Hall show. The band managed to take a spacious, relatively normal venue and shift the atmosphere to match that of the album: warm, enthusiastic, and frenzied.

Frontman, Simon Balthazar, led the charge in a bowtie and further proved my belief that Swedes are musical messiahs when it comes to penning a good pop song. Though he was the lead singer, the audience seemed to focus on the band as a whole as they constantly exchanged instruments and shared singing duties. The arsenal of instruments that night included a banjo, mandolin, violin, clarinet, and a brightly colored melodica – the required instrument for every chamber pop band out there. True, they occasionally succumbed to a few clichés (see: the rampart Arcade Fire comparisons), but their sincerity shone through. When you take away the fanfare, there’s still a pulse to their music that drives it past most conventions. Hence the epic-ness.

With only one album, they had a limited supply of songs to play. My personal favorite, “I’m a Pilot,” drew from the band’s most appealing quality: their infectious camaraderie. This was most apparent during the encore, when they had run out of songs to sing, so they resorted to the obligatory cover, Low’s “Just Like Christmas,” featuring opening band, Freelance Whales. Anything holiday-related is instantly a cheese-fest, but throw in a cavalcade of instruments and a dozen earnest musicians and it becomes easy to suspend any cynicism.

(I really wanted to end this review by writing, “...and by the end of the night, you could say that the entire audience had shed an emotional straitjacket – and put on a fringed vest of love.” But I won’t. Swearsies.)

Photos by Dave: 

I like love Samurai series like Lone Wolf and Cub and Hanzo the Razor (while Lone Wolf is all about bloody violence, Hanzo is all about sex & ultra-violence). I only mention Hanzo, because the "hero" is played by Shintaro Katsu, who also play one of Japan's most popular Samurai, Zatoichi. If you've never heard of Zatoichi, he's a blind swordsman, who wanders Japan in the Edo period as a masseur (although he seems to make most of his money at dice games).

The Zatoichi series ran 26 movies (1962-1982) and a television series ran for five years (1974-1979). Twenty years later, Takeshi "Beat" Kitano reinvented Zatoichi with his version of the character. This was easily one of my favorite movie at the time, I saw it at the independent theater twice in 2003 and ordered a region 3 release of the DVD as soon as it was available on import. Incidentally, to show support for the US market, I also bought the US edition of the DVD, which came with a bonus Sonatine movie (which was originally released in the states by Quentin Tarantino's Rolling Thunder productions).

Considering the movie did quite well, critically and (I'm assuming) in sales, I was hoping for a follow-up movie by Kitano, but unfortunately there's no such plan. However, interestingly enough, one of my all-time favorite Japanese director, Takashi Miike* directed a stage adaption of Zatoichi for live performances in 2007.

I'm happy to report that, I saw a very good re-imagined of the familiar character, reinvented as a female protagonist, called Ichi. I wish the producers had kept the brand of "Zatoichi", as people who hear "Ichi" does not always associate the name with the blind swordsman. To be fair, Ichi is the original character's name. The term "zato" means low-ranking blind person (low-ranking in the Todoza guild). Logically, they could've named this movie Gozeichi, because Goze refers to blind musician women of that time period.

Anyway, beside my gripe about the Ichi name as the movie title, I also didn't like the idea that a model (Ayase Haruka) is playing the part of the protagonist. All that was really not worth worrying, because the whole movie is quite entertaining and enjoyable, and there is only once where Haruka is seen 'dolled up' for a music performance (most of the movie, she's covered from head to toe in dirty rags). However, there are at times when the director Fumihiko Sori choose to stay too long on Haruka's beautiful unblemished face. We get it, she's cute.

The story is uncomplicated, Ichi wanders into some town with an inept sword-drawing samurai Toma (the name is close to a slang "tonma" for idiot or fool). The town is in trouble from the Banki gang, and in Zatoichi fashion, Ichi and Toma saves the town. During the course of the film, there are the tried-and-true Zatoichi moments like slashing out the lights and Ichi triumph in complete darkness, the use of sound to throw Ichi off, and, of course, the Cho-Han Bakuchi dice gambling.

What made the film interesting, at least to me, is that the soundtrack is by Dead Can Dance's Lisa Gerrard! So throughout the movie, you do hear that ethereal vocals, similar to her efforts on Ridley Scott's Gladiator. I suspect she only wrote the vocals, the credit I have for composer is Michael Edwards, who previously worked with Gerrad on her solo material. The soundtrack was a bit of a surprise to me, generally these J-movies' music and production team are usually kept inhouse. Although, having said that, the one outro credit song is by Korean J-Pop singer SunMin.

Ichi the movie will be made available in the US market via Bluray and DVD in two days (December 22^nd), just in time for last-minute xmas shoppers. Hopefully those Best Buy tonmas will be smart and order some copies for their store (however, if it costs over $25, I'd rather order it online, or not own it at all - hey times are tough!).

* I love all three billion of his movies! Audition, City of Lost Souls, One Missed Call, Ichi the Killer, Fudoh, The Happiness of the Katakuris, Zebraman, Sukiyaki Western: Django, etc.

Ever since I've first heard "There is a Place in Hell for Me and My Friends" in 1991, I've always known that Morrissey and I would be friends. Longtime readers will know that I'm a huge fan, but post-Ringleader, I found myself not actively collecting various editions (a good example of this is the "expanded" editions of Southpaw Grammar and Maladjusted). While I would love to have them in my collection, I feel like I've already bought them the first time around and I'm contented with the original cd and vinyls.

For this Christmas, I did buy myself Swords deluxe edition via my favorite store, amazon. It was a bit pricey for a CD/DVD combo ($23 vs $12 for the standard disc), but I'm worth it.

I actually have had a digital copy of the B-Sides compilation since late October, thanks to pen pal friend Mel, as it was a "bonus" if you had preordered tickets to see Morrissey in live in 2009. And of course, like most fans, we still buy the physical release anyway, so it's a bit of a win-win situation for everyone.

I'll briefly summarize Morrissey's history: he's a bit of a sensitive, indie songwriter with The Smiths. He went solo in "nineteen-eighty-hate" with some classic modern rock hits with "Suedehead" (aka that "I'm So Sorry" song) and "Everyday is like Sunday". He went a bit rockabilly with Your Arsenal (his previous album Kill Uncle was heading to this direction, especially with the B-Sides and singles from this era), and pretty much stayed in this "muscular" rock type music since. As I previously mentioned, I think this has to do with his musical collaboration with Boz Boorer and Alain Whyte.

If you're new to Morrissey, I don't think Swords would be a good starting point for you. I would recommend starting with Bona Drag, a weird mix of b-sides and oddities. Most of the songs on Swords were co-written by Alain Whyte, and there's a nice cohesive feel to each song as they have similiar song writing structure. When you do run into a non-Whyte song, such as "Sweetie-Pie", it just feels out of place. In fact, I think this is possibly one of the worst Morrissey song, right up there with "Michaels Bones".

There is one non-Morrissey-penned song, and it's a live recording of "Drive-In Saturday" (live at Omaha on 11 May 2007). Morrissey's music obsessions tend to be from the 60s and 70s era, so it didn't surprise me to hear him doing a David Bowie cover from the Aladdin Sane time period. But the two are friends, I know that Bowie showed up at a Morrissey show in Los Angeles in the early 90s to do a duet of a T.Rex's song for "Cosmic Dancer", and, of course, Bowie would later record a soul-ish version of Morrissey's "I Know It's Gonna Happen Someday" in 1993.

Also, it seems in post-2008, Morrissey's songs have been about fatherhood and retirement. Just looking over his titles: "Good Looking Man About Town", "Don't Make Fun of Daddy's Voice", "Teenage Dad on His Estate", "Children in Pieces", that "constipated look" for Swords, and that controversially album cover for Years of Refusal ... you would think that he's married with kids. Maybe that's not a bad thing, with Morrissey's heath in question, maybe he should take it easy. We all can't be like James Dean, you know.