Johnny Marr

Call The Comet

Mojo (UK) - - Filter Albums - Pat Gil­bert

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.

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