Call The Comet
Third album under the Marr solo marque channels the Trump-era Zeitgeist. Spread between 2013’s The Messenger and 2014’s Playland there was enough material for a single killer record, the ex-Smith playing to his strengths with jagged, postpunk explorations and dreamy soundscapes, all topped by an unexpectedly warm Manc voice pitched somewhere twixt old foils Morrissey and Bernard Sumner. Call The Comet excavates similarly layered ’80s sounds, this time with mucho geopolitics and echoes of Sisters Of Mercy and – somewhat ironically considering a school-age Billy Duffy taught him the rudiments of guitar – The Cult. But it’s when Marr stops thinking ‘big festival rock sound’ that this LP shines: Walk Into The Sea – haunting piano notes, an eerie film soundtrack guitar figure, sudden bursts of roiling emotion – salutes his Hans Zimmer-pedigreed cinematic nous; Hi Hello is The Smiths’ There Is A Light… cheekily recast; Actor Attractor replays icy, mechanised Joy Division beats. Ultimately, it’s all about the angle of his jangle – ever unimpeachable.