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Call the Comet is meanwhile Marr’s third record as the proud singer of expansive songs which declaim a more positive vision. The dystopian possibilities of Donald Trump’s election were at the front of his mind as he wrote it:
Call the Comet responds by rifling through the dystopias and utopias of the age of nuclear paranoia in which he grew up. This is a record steeped in both the chilly yearning of Bowie’s “Berlin” albums and Ziggy Stardust’s glam apocalypse, as well as the science-fiction paperbacks by the likes of JG Ballard which inspired them.
The muscle of the synth-powered 1980s “Big Music” which followed Bowie, early Simple Minds especially, also thrums through
Call the Comet. Typically, “The Tracers” finds room in the rushing momentum of its final, wordless chorus for Rolling Stones harmonies, too.
The chiming synths and urgently climbing guitars are at their most euphoric on “My Eternal”. “All the saints are underground,” Marr sings, but the music conjures visceral visions of darting between future Manchester skyscrapers, as if in an optimist’s version of Blade Runner. Marr’s sources date him. So does his vision of rock as a transformative tool.
And then there is “Hi Hello”, an unexpectedly comfortable rest-stop in The Smiths’ sound-world. It’s a place as personal and complete as Jimmy Page’s thunderous production palette with Led Zeppelin, has few other parallels, and is Marr’s main claim to greatness. Perhaps for this reason, he has been reluctant to revisit it.
https://www.independent.co.uk/arts-...racklist-morrissey-release-date-a8397216.html