ADAM ANT: ADAM ANT IS THE BLUEBLACK HUSSAR IN MARRYING THE GUNNER'S DAUGHTER (2013)
1) Cool Zombie; 2) Stay In The
Game; 3) Marrying The Gunner's Daughter; 4) Vince Taylor; 5) Valentine's; 6)
Darlin' Boy; 7) Dirty Beast; 8) Punkyoungirl; 9) Sausage; 10) Cradle Your
Hatred; 11) Hard Men, Tough Blokes; 12) Shrink; 13) Vivienne's Tears; 14) Who's
A Goofy Bunny; 15) How Can I Say I Miss You; 16) Bullshit; 17) How Can I Say I
Miss You (reprise).
In a fashion somewhat atypical of «has-beens», Adam's
comeback actually culminated in a new
album rather than started out with it — for about three years, since early
2010, he had been resharpening his teeth on stage, remembering old material,
polishing the new one, and generally getting back into character. Actually, he'd
invented a new character — the «Blue
Black Hussar», which was also the name of his new private record label — but it
really only signified a return to his old fetish with 18th / early 19th century
styles and uniforms. A return to his trusty old self, really, the last signs of
which we had glimpsed back in 1985, with Vive
Le Rock arguably being the last «genuine Adam Ant» album.
Now, in 2013, Adam Ant has completed the
comeback, and he wants us all to take notice — not only is the album title his lengthiest ever, offering some
modest competition to Tyrannosaurus Rex and Fiona Apple, but the album itself
is his lengthiest ever: seventeen tracks stretched over seventy minutes, taking
full advantage of the CD format in an age when the average artist seems to have
already outgrown that stage (and Michael Jackson is dead). Which means that
there is a lot here to digest and
assimilate — and it might take some serious time, because Adam Ant is not out
there to make the job easy for you. The
Blueblack Hussar is hardly his worst album, and it is most likely not his
best, but it is the toughest nut he has offered for us to crack so far.
Even after five listens, most of the songs still
feel emotionally alienated, but not emotionally empty. This is definitely the Adam Ant of Wild Frontier and Friend Or
Foe, but acting his age: the songs are taken at slower tempos and stripped
of superficial wildness (tribal drumming, lunatic yelling, martial parade
atmospheres, etc.). Adam's character impersonation routine still puts a heavy
«glam stamp» on it, but on the whole, his attitude nowadays is not unlike David
Bowie's — that of an aged guru, striking a careful balance between the
tastefulness of the arrangements, the impressionistic / symbolic / confusing
nature of the lyrics, and the retro vs. modernistic production ratio that
could keep both the old fans and the occasional new listener happy.
Clearly, such albums run a very high risk of
being flat-out boring, and for many people Adam's latest offering — especially
if they put it on with ʽGoody Two Shoesʼ on their minds — may well be the
epitome of boredom. The melodies (most of which, strangely enough, have a
folksy acoustic guitar foundation, with the occasional exception of a heavy
electric riff only proving the general rule) are fairly routine — to get note
sequences of this caliber, one certainly does not need to drag a sixty-year old
New Wave freak out of the closet. And the «vibe»... well, it is not even clear
if those particular audiences that did not grow up on Adam's classic records
will get the sarcastic/absurdist gist
of it all.
But I think that, according to Adam's own
standards, the record is a success. Where, for instance, Alice Cooper remained
unable to recapture the crassy horror-show temptation of Welcome To My Nightmare with his direct sequel, Stuart Leslie
Goddard has managed to demonstrate that the good old Adam Ant is still alive,
sharp-witted, and stubbornly independent. To begin with, he opens the record
with ʽCool Zombieʼ, which uses a swampy, slide-guitar-based arrangement to
sabotage and blow up the old «Southern rock» values — "for a time I lived
in Tennessee, a pretty hillbilly, a cool Zombie", says the guy, ensuring
that one place where this record will
never get much airplay is any random Nashville radio station. It is not «great»
or «catchy» — it is «sharp», and it pretty much sets the general standard for
whatever is to come.
The individual songs are often slow, but steady
growers. ʽStay In The Gameʼ eventually comes to life as a moody younger brother
of the Doors / Joy Division vibe (with a squeaky, jarring guitar sound on the
Joy Division side, and catchy poppy vocals on the Doors side). ʽVince Taylorʼ
is a morose, but punchy tribute to an old, forgotten rock hero (Adam Ant's
worst nightmare, eh?). The mock-sexy, mock-psychedelic aah-aahs of
ʽValentine'sʼ have a sad, but decadent flavor that stops exactly midway between
gallant prettiness and intentional self-parody (well, at least it stopped for
me and hasn't moved an inch ever since). ʽCradle Your Hatredʼ has an anthemic
R&B chorus that feels almost as sincere as the metallic breath of ʽHard
Men, Tough Blokesʼ.
All in all, by the time we get around to ʽWho's
A Goofy Bunnyʼ, a song allegedly dedicated to the memory of Adam's good friend
and mentor Malcolm McLaren, you might want to start asking that question on
your own. Is it Adam Ant who is a goofy bunny, putting on this retro show in
slow mode despite having long since outlived his time? Is it the «public
taste», symbolized by the likes of McLaren and churning out demand for silly
rock theater? Is it us reviewers, wasting our time trying to sort out the
meaningful from the meaningless and ending up with extra frustration on our
hands? Maybe we're all just a bunch
of goofy bunnys ever since we separated art from its pragmatic ceremonial
purposes and started pretending that it has additional meaning...
...in any case, one thing is for certain: a
record that gets one to ask these kinds of questions cannot be a total failure.
Just like Adam Ant was teasing us in the New Wave era, challenging listeners to
a winless game of «guess who's smart and who's dumb», he is efficiently doing
the same stuff now, only with a
little more restraint and age-related corrections. In other words, this is a
confusing record — but it is a stimulating confusing record, which is the good
kind of confusing, and I give it a thumbs up even despite not being able to say if I
«like it» or even «understand it». You will just have to find out on your own;
all I can say is, at the very least Adam Ant is not back for nothing — he is definitely
back with something, whatever the
heck it is.
Check "The BlueBlack Hussar" (MP3) on Amazon
Well, this is actually... brilliant. A mess, yes, but glorious mess. I actually ended up loving every single song here; confident, diverse songwriting all around. I swear "Cool Zombie" and "Cradle Your Hatred" are among Adam's best ever. I would have gone for a different cover, granted, but what the hell.
ReplyDeleteSo thanks, George. Were it not for this review, I would have totally missed this one.
P.S. Now back to Daft Punk...
Hmm, I dunno. The songs seem OK enough. But the sloppy production is a serious turn-off. Maybe if I were a bigger fan of his career in general this would work better for me.
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