In a week in which his past as jangle-pop royalty was revived by the unlikely duo of Rick Astley and Blossoms, Johnny Marr demonstrates his refusal to rest on the past, with the upbeat first instalment on his upcoming double album– Fever Dreams Pt.1.
The ex-Smiths guitarist turned solo artist has spoken frequently prior to his recent solo albums of wanting to create music which would translate to captivating live performances, and this is reflected immediately with the first track “Spirit, Power and Soul”. Marr’s vocals amble across a tense backdrop of electronic percussion and an atmospheric synth cameo reminiscent of his previous band Electronic, before cascading into an instinctively catchy chorus.
The promising instrumental of this track is somewhat betrayed however by its insignificant lyrics, where the chorus mantra of “Spirit, Power and Soul” is scattered randomly amongst seemingly unrelated versus where virtually nothing of any sense is said. It’s a tailor-made live track which will likely stay in your head all week, but still won’t mean anything by the end of it.
“The Receiver” is another attempt at bolstering his live catalogue. However, smatterings of meandering guitar are the only real highlight in a generic synth-pop effort where Marr’s vocals fail to provide the gusto for an anthemic banger.
The mood switches on the brilliantly unnerving “All These Days”, where Marr lays down an ingeniously simple guitar riff which combines with a sinister bassline to produce a moody post-punk effort, the album’s definite highlight.
“Ariel” evokes the feeling of Marr’s recent collaboration with Hans Zimmer on the James Bond soundtrack, sparkling guitar lines facing off against rumbling synths further demonstrating his ability to create an eerie mood. This is abandoned again however, during the repetitive and slightly uninspiring chorus, which wears thin by the end of the song.
While Marr’s commitment to expanding his own creative horizons is admirable and at points undeniably successful, it is frustrating that for large parts of this project he allows himself to be defined primarily by the hit-and-miss search for a big chorus. Moments on this record, do however, provide glimpses of promise for the next edition if the formulaic hunt for an anthem can be ditched.
For a man who usually has so much to say in challenging boundaries both musically and with his out-spoken views on society, the project lacks lyrical substance and in parts appears to say very little at all.
Rating: 3/5
