Sine Macula: Armed Forces

sinemacula2.jpgNo one has ever quite loved ironic double meanings as much as Elvis Costello. It’s appropriate, therefore, that his music career would start with remarkable brilliance, and that his third album in 2 years, Armed Forces, would open with “Accidents Will Happen”, beginning with the words, “I just don’t know where to begin”. The opener is three minutes of double meaning where Costello sings about a young couple committing a hit-and-run, but the song is an metaphor for a failed relationship.

Costello’s first two albums were based steeply in blues and punk, and it’s on this album that he begins to open up his musical stylings to other genres. The second track on the album, “Senior Service”, is a prime example of one of Costello’s most well known traits: his absolutely bloodthirsty lyricism. The song has a mocking, syncopated, schoolyard sort of melody. After beginning with the chorus, he brings out the venom: “I want your neck/I want the seat that you sit at/I want your cheque/Because they told me I would get on/I wanna chop off your head and watch it roll into the basket”. For two minutes, Costello wishes murder on some poor middle manager. Tom Waits, a friend of Costello, once said, “I’d hate to be bawled out by [Costello]. I’d quit first”. We have to wonder if this poor sap shouldn’t have done the same thing.

The third track is by far my favorite. “Oliver’s Army” is a radical departure for Costello as the song sounds, well, jubilant. The lyrics, however, offer his usual threats, but this time, they’re highly political. Costello harmonized with himself about the army recruiting poor, young men to fight battles with no interest for the common man. The piano bangs throughout the chorus, and Costello gives low warnings through the verses: “But it’s no laughing party when you’ve been on the murder mile/Only takes one itchy trigger/One more widow, one less white nigger”. The song soars to crescendo with Costello dripping sarcasm, “But there’s no danger, it’s a professional career/Though it could be arranged with just a word in Mr. Churchill’s ear”.

The album continue on its rambling, punk/new wave path, with highlights in the paranoid “Good Squad”; the template for every Gin Blossoms song, ever in “Busy Bodies”‘; and the slow-building, enigmatic “Chemistry Class”, before concluding with two of Costello’s finest songs: “Two Little Hitlers”, and Costello’s arrangement of Nick Lowe’s “(What’s So Funny ‘Bout) Peace, Love, and Understand?”

The music in “Two Little Hitlers” is slightly over the top. The verses recall 1950s pop, while the verses perfectly pile on a schmaltzy organ. The “Hitlers” of the song’s title are an intentionally thin metaphor for a lost couple. Costello makes some of his finest use of rhythm and rhyme scheme in this song: “Dial me a Valentine/She’s a smooth operator/It’s all so calculated/She’s got a calculator/She my soft touch typewriter/And I’m the great dictator”.

One of Costello’s few covers ends the album. His rendition of “Peace, Love and Understanding” is an obvious member of the highest echelon of covers. The original was about, well, hippies. Flower power was, ahem, wilting, and looked silly compared to the raw power of the music that followed, like Led Zeppelin, and Black Sabbath. Costello wasn’t saying his farewells to anything. His rendition is an anthem about world affairs–about war and conflict, as with much of the album–and the expressive nature of Lowe’s lyrics coupled with the impassioned singing of Declan MacManus, give the song a range from the heavily political, to the deeply intimate. A fine close if there ever was one for such a perfect album.


Ted Leo & the Pharmacists recently released what I think is officially their 5th LP, but only the 4th that anyone cares about, Living With the Living. I had honestly started to get worried about Ted Leo. His first album, Tyranny of Distance, is magnificent. His second album, Hearts of Oak, was more experimental, but maybe not quite as listenable. His third album, Shake the Sheets, was a lot of fun, but far less substance than either of his first two–kind’ve a one note album. Thankfully, Leo regains in interest in other music here, throwing out a reggae tune, and a couple of mid-tempo ballads, some noise rock–definitely making use of the bag of tricks from the first two albums. I couldn’t be happier.

Kings of Leon were recommended to me by Mrs Thursday a number of years ago. Against her recommendation, I bought their second album, Aha Shake Heartbreak (“the bad one”), instead of their first Youth and Young Manhood (“the good one”). We then spent 2 years arguing about which was the better album, as she eventually accepted that, in fact, they’re both really good. I’ve only had their third album, Because of the Times, for two days, but it might be their best yet, and by a wide margin. The Kings make their bucks on a Southern Rock meets New York punk brand of rock, while always leaning a bit more the big, hooking choruses of Neil Young than the proggy arrangements of the Velvet Underground. This time, however, they take a long, long look at the Pixies elsewhere, and the result is their more intriguing album to date.

Two months ago, the Curious Mechanism wondered if Mika, talented as he may be, might lack the song writing skill and the wherewithal to resist using his falsetto at every juncture, and flatten his songs. That is, we wondered if he wasn’t a one-trick pony with his excellent single, “Grace Kelly”. Well, we’ve heard the album, and we’re fairly certain Mika is as obsessive about his falsetto as Justin Hawkins. When compared to their shared influences, however, both Mika and The Darkness lack the nuance and song-writing skill of their obvious influences. The album is enthusiastic, and earnest, all the way through, and Mika has the natural talent to make most of the songs work, but when he misses, he misses badly. He certainly has gripped fully ballad-writing, and the song “Love Today”, which you’ve heard on cellphone commercials across the country, is, frankly, an awful track. Still, some of the songs show promise, even as the entire album isn’t particularly impressive.


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