A
Anonymous
Guest
"Low In High School" review by Sascha Kilian (4.5 / 6) - triggerfish.de (German)
Google Translate to English
The last few months have not been easy for even the most die-hard Morrissey fans. Formerly nominated by the NME as "the greatest artist of all time," the singer provoked questionable sympathy with Brexit and former UKIP chairman Nigel Farage. For some of the faithful followers of the artist it was clearly too much. The press reacted irritated and with malice.
His verbal radical statements, however, by no means fit together. For example, he draws a clear position against the policies of Donald Trump. Morrissey and his five band members even wear T-shirts with the label "Return Of The Black Panthers" at current concerts. A clear reference to the "Black Panther Party", who were founded in the 1960s, and an open America.
His rigorous opinion on the subject of animal rights or the rejection of the Royals can be shared or not. However, if it goes in the direction of nationalist-glorified "Kokolores" it is simply unbearable. On the other hand: Wasn't it always the same with him? His status as an exceptional artist is solid. The worldwide recognition that he craves, however, he is still denied.
Morrissey throws, as always, a variety of rather unclear statements around. Often there is no explanation. Why? Misunderstandings affirm the Diva's lack of understanding and self-imposed exile. If anything, Morrissey explains himself and how he sees the world through his music. That's why we lower the blood red curtain and take a look at his long awaited new album "Low In High School".
In the middle of "Low In High School" the anti-soldier's suite "I Bury The Living" is a barely two-minute moment that should bring tears of emotion to all the old the Smiths fans. Jesse Tobias plays an acoustic guitar character reminiscent of Johnny Marr and the bittersweet the Smiths farewell "I Won't Share You". Morrissey sings with a lightness and sarcasm, as he did 30 years ago, about the astonishment of the parents about the progress of the world, despite the passing away of their son John, who lost his life on the field of war. Only someone like Morrissey can garnish this drama with an irresistible "Lalalala" and let the hearts of the followers beat faster for a moment.
Until this time, you have heard through the musically best and most varied Morrissey album since "You Are The Quarry". You enjoy the wide-fledged T-Rex riff in the opener "My Love, I'd Do Anything For You", which, according to producer Joe Chiccarelli, would almost never have been on the record and to which he would, after consulting his client, add a pound of wind instruments, Timpani and fanfares missed. Bassist Mando Lopez's songwriting debut stomps heavily into the "glam dust" of "Your Arsenal". Morrissey innovates here deceptively, but euphorically and almost hilariously his promise to love.
"I Wish You Lonely" comes along like the bitchy little sister of Bowie's "Scary Monsters" and marches energetically and does not focus anymore for how long. Keyboarder Gustavo Manzur manages to use New Wave sounds in such a way that Morrissey's passionate, breathless and visually stunning desire for loneliness is transported even more intensely for his adversaries. Another candidate for a future single and already a live favorite of the previous Morrissey Concerts 2017.
"Jacky's Only Happy When She's Up On The Stage", the second single release, reinforces the impression of a fabulous entry into this eleventh Morrissey solo disc after his band the Smiths released in 1987. Again Manzur offers extraordinary keyboard sounds, the band around Boz Boorer plays forcefully and the "King of Mope" clearly feels at ease when telling the world about the vain Jacky, who confidently pulls it onto the stage, even when the hall empties.
These are such inscrutable little stories that he still masters well and which could not only be interpreted behind closed doors as a metaphor for the exit of Great Britain (Union Jack) from the EU. Disguised as "Exit" or "Excess" in the hysterical outro of this addictive gem, "This Country Is Making Me Sick" and "Brexit" corroborate this thesis. Even more bizarre but more accurate, the state of Britain can not be formulated by one of its greatest modernist writers and critics. Especially with regard to the ailing domestic Prime Minister Theresa May, which is currently struggling with scandals and stagnation in the Brexit negotiations.
But Morrissey and the band are even more moving and serve "Home Is A Question Mark", a song that has its origins in the sessions of "You Are The Quarry". As a result, this ballad is "Larger Than Life" and Morrissey, the uprooted, who has become a globetrotter since leaving the UK in the late 1990s, longs for security and questions the value of home. Musically, his current cast is at its zenith. The crescendo of 90s indie guitars, a jingle tree and strings at the finale is hard to escape. Morrissey here, irresistibly, puts all his singing skills at the service of this future classic. Gorgeous!
"Spent The Day In Bed", written by Gustavo Manzur and equipped with unusual 70s e-piano sounds, got mixed reviews as a preliminary single. Morrissey's revival of his obsolete 80s bedsitter image and the negation of all media coverage is nice to hear, but actually is not one of the highlights of this very good disc and is simply not a forerunner to the album.
The opening of the second part of the album surprises with two consecutive pieces with hidden bonds to his unfortunately not particularly appreciated solo album "Kill Uncle" from 1991. "In Your Lap" is again accompanied by these unique Morrissey vocals and the piano part is pointed and nuanced. It's about protection in someone's womb with all the misery in the world. The piece needs a few passes, but then develops into one of the most beautiful of the album.
"The Girl From Tel Aviv Who Would not Kneel" prances via tango rhythm in a purely acoustic way and has always surrounded the anachronistic charm of Morrissey and he loves. The vocal sound here is fascinating as in his early solo phase, but here too the listener needs some time to get used to the modified and light sound. Old fans will recognize the "Kill Uncle" parallels and have their joy.
Everyone was astonished at the first live performances of "All the Young People Must Fall in Love". The master and his band adapt native American terrain with gospel and barrelhouse blues influences. Even more amazing: The whole thing works very well and Morrissey lyrically combines the love of youth with the half-life of unloved politicians. Typical for the Morrissey of the year 2017.
"When You Open Your Legs" sounds for German ears like hot-blooded 70s Schlager. The Manchester man tells of a hot and warm summer night in Tel Aviv, club visits and physical desire that seems to have inspired him. No real highlight of the record although already an integral part of the current liveset.
Lyrically, "Who Wants to Protect Us From The Police" is like a Morrissey too often heard, billing with police and state arbitrariness. Musically, the piece by Boz Boorer is unfortunately also similar mediocre as much on the overrated "Ringleader Of The Tormentors" album from the year 2006. Even the outro and the naming of the state "Venezuela" can not save the song from mediocrity.
But Morrissey and his band do not leave us without another climax. "Israel" has dignity, greatness and one of Morrissey's finest vocal performances ever. The Jewish capital as a symbol for a beloved, with all the beauty, the pain, the threat and the contradiction.
Recorded in the early summer of 2017 in Ennio Morricone's Roman studios and in southern France, almost the entire band is for the first time responsible for the songwriting. The band sound is therefore much more homogeneous and the songs also more valuable than on the much criticized predecessor "World Peace Is None Of Your Business". "Low In High School" has become a very good Morrissey album and tries to redefine old traditions with the strengths of the current line-up. However, it does not convey a general mood, such as his highly decorated 90s album "Vauxhall & I" (Nostalgia & Infatuation).
The lyrics of Steven Patrick Morrissey also have a different relevance in 2017 than they did in the 80s and 90s, when he wrote razor-sharp, everyday English observations and still expressed innocent desire and shy pardon. On "Low In High School", he is dedicated to hot desire, global police arbitrariness, corrupt heads of state, warmongers and, above all, the state of Israel, which is being staged in three titles. The symbolic presentation of Keys To The City Of Tel-Aviv in 2012 evidently deeply impressed the English-Irishman.
The globetrotter with the big world-grandson is even further away from his native England. While sunny Los Angeles officially declared November 10 the "Morrissey Day", on the cover of "Low In High School", it challenges a child to threaten monarchies with the ax. The cross-romantic romantic Morrissey was never alive, the Queen never in greater danger. "Low in High School" once again impressively demonstrates the exceptional position of the man "between all chairs".
Rating: 4.5 out of 6
Release: 17.11.2017
Label: BMG
Format: CD / LP / Download
Google Translate to English
The last few months have not been easy for even the most die-hard Morrissey fans. Formerly nominated by the NME as "the greatest artist of all time," the singer provoked questionable sympathy with Brexit and former UKIP chairman Nigel Farage. For some of the faithful followers of the artist it was clearly too much. The press reacted irritated and with malice.
His verbal radical statements, however, by no means fit together. For example, he draws a clear position against the policies of Donald Trump. Morrissey and his five band members even wear T-shirts with the label "Return Of The Black Panthers" at current concerts. A clear reference to the "Black Panther Party", who were founded in the 1960s, and an open America.
His rigorous opinion on the subject of animal rights or the rejection of the Royals can be shared or not. However, if it goes in the direction of nationalist-glorified "Kokolores" it is simply unbearable. On the other hand: Wasn't it always the same with him? His status as an exceptional artist is solid. The worldwide recognition that he craves, however, he is still denied.
Morrissey throws, as always, a variety of rather unclear statements around. Often there is no explanation. Why? Misunderstandings affirm the Diva's lack of understanding and self-imposed exile. If anything, Morrissey explains himself and how he sees the world through his music. That's why we lower the blood red curtain and take a look at his long awaited new album "Low In High School".
In the middle of "Low In High School" the anti-soldier's suite "I Bury The Living" is a barely two-minute moment that should bring tears of emotion to all the old the Smiths fans. Jesse Tobias plays an acoustic guitar character reminiscent of Johnny Marr and the bittersweet the Smiths farewell "I Won't Share You". Morrissey sings with a lightness and sarcasm, as he did 30 years ago, about the astonishment of the parents about the progress of the world, despite the passing away of their son John, who lost his life on the field of war. Only someone like Morrissey can garnish this drama with an irresistible "Lalalala" and let the hearts of the followers beat faster for a moment.
Until this time, you have heard through the musically best and most varied Morrissey album since "You Are The Quarry". You enjoy the wide-fledged T-Rex riff in the opener "My Love, I'd Do Anything For You", which, according to producer Joe Chiccarelli, would almost never have been on the record and to which he would, after consulting his client, add a pound of wind instruments, Timpani and fanfares missed. Bassist Mando Lopez's songwriting debut stomps heavily into the "glam dust" of "Your Arsenal". Morrissey innovates here deceptively, but euphorically and almost hilariously his promise to love.
"I Wish You Lonely" comes along like the bitchy little sister of Bowie's "Scary Monsters" and marches energetically and does not focus anymore for how long. Keyboarder Gustavo Manzur manages to use New Wave sounds in such a way that Morrissey's passionate, breathless and visually stunning desire for loneliness is transported even more intensely for his adversaries. Another candidate for a future single and already a live favorite of the previous Morrissey Concerts 2017.
"Jacky's Only Happy When She's Up On The Stage", the second single release, reinforces the impression of a fabulous entry into this eleventh Morrissey solo disc after his band the Smiths released in 1987. Again Manzur offers extraordinary keyboard sounds, the band around Boz Boorer plays forcefully and the "King of Mope" clearly feels at ease when telling the world about the vain Jacky, who confidently pulls it onto the stage, even when the hall empties.
These are such inscrutable little stories that he still masters well and which could not only be interpreted behind closed doors as a metaphor for the exit of Great Britain (Union Jack) from the EU. Disguised as "Exit" or "Excess" in the hysterical outro of this addictive gem, "This Country Is Making Me Sick" and "Brexit" corroborate this thesis. Even more bizarre but more accurate, the state of Britain can not be formulated by one of its greatest modernist writers and critics. Especially with regard to the ailing domestic Prime Minister Theresa May, which is currently struggling with scandals and stagnation in the Brexit negotiations.
But Morrissey and the band are even more moving and serve "Home Is A Question Mark", a song that has its origins in the sessions of "You Are The Quarry". As a result, this ballad is "Larger Than Life" and Morrissey, the uprooted, who has become a globetrotter since leaving the UK in the late 1990s, longs for security and questions the value of home. Musically, his current cast is at its zenith. The crescendo of 90s indie guitars, a jingle tree and strings at the finale is hard to escape. Morrissey here, irresistibly, puts all his singing skills at the service of this future classic. Gorgeous!
"Spent The Day In Bed", written by Gustavo Manzur and equipped with unusual 70s e-piano sounds, got mixed reviews as a preliminary single. Morrissey's revival of his obsolete 80s bedsitter image and the negation of all media coverage is nice to hear, but actually is not one of the highlights of this very good disc and is simply not a forerunner to the album.
The opening of the second part of the album surprises with two consecutive pieces with hidden bonds to his unfortunately not particularly appreciated solo album "Kill Uncle" from 1991. "In Your Lap" is again accompanied by these unique Morrissey vocals and the piano part is pointed and nuanced. It's about protection in someone's womb with all the misery in the world. The piece needs a few passes, but then develops into one of the most beautiful of the album.
"The Girl From Tel Aviv Who Would not Kneel" prances via tango rhythm in a purely acoustic way and has always surrounded the anachronistic charm of Morrissey and he loves. The vocal sound here is fascinating as in his early solo phase, but here too the listener needs some time to get used to the modified and light sound. Old fans will recognize the "Kill Uncle" parallels and have their joy.
Everyone was astonished at the first live performances of "All the Young People Must Fall in Love". The master and his band adapt native American terrain with gospel and barrelhouse blues influences. Even more amazing: The whole thing works very well and Morrissey lyrically combines the love of youth with the half-life of unloved politicians. Typical for the Morrissey of the year 2017.
"When You Open Your Legs" sounds for German ears like hot-blooded 70s Schlager. The Manchester man tells of a hot and warm summer night in Tel Aviv, club visits and physical desire that seems to have inspired him. No real highlight of the record although already an integral part of the current liveset.
Lyrically, "Who Wants to Protect Us From The Police" is like a Morrissey too often heard, billing with police and state arbitrariness. Musically, the piece by Boz Boorer is unfortunately also similar mediocre as much on the overrated "Ringleader Of The Tormentors" album from the year 2006. Even the outro and the naming of the state "Venezuela" can not save the song from mediocrity.
But Morrissey and his band do not leave us without another climax. "Israel" has dignity, greatness and one of Morrissey's finest vocal performances ever. The Jewish capital as a symbol for a beloved, with all the beauty, the pain, the threat and the contradiction.
Recorded in the early summer of 2017 in Ennio Morricone's Roman studios and in southern France, almost the entire band is for the first time responsible for the songwriting. The band sound is therefore much more homogeneous and the songs also more valuable than on the much criticized predecessor "World Peace Is None Of Your Business". "Low In High School" has become a very good Morrissey album and tries to redefine old traditions with the strengths of the current line-up. However, it does not convey a general mood, such as his highly decorated 90s album "Vauxhall & I" (Nostalgia & Infatuation).
The lyrics of Steven Patrick Morrissey also have a different relevance in 2017 than they did in the 80s and 90s, when he wrote razor-sharp, everyday English observations and still expressed innocent desire and shy pardon. On "Low In High School", he is dedicated to hot desire, global police arbitrariness, corrupt heads of state, warmongers and, above all, the state of Israel, which is being staged in three titles. The symbolic presentation of Keys To The City Of Tel-Aviv in 2012 evidently deeply impressed the English-Irishman.
The globetrotter with the big world-grandson is even further away from his native England. While sunny Los Angeles officially declared November 10 the "Morrissey Day", on the cover of "Low In High School", it challenges a child to threaten monarchies with the ax. The cross-romantic romantic Morrissey was never alive, the Queen never in greater danger. "Low in High School" once again impressively demonstrates the exceptional position of the man "between all chairs".
Rating: 4.5 out of 6
Release: 17.11.2017
Label: BMG
Format: CD / LP / Download
Last edited by a moderator: