Moz's frustrating return

Morrissey is finally releasing new material for the first time since I Am Not A Dog On A Chain (2020). However, he never really stopped being active, between and touring. He did, however, record an album in 2021, Bonfire of Teenagers which was never released. After months of dispute with his former label, Morrissey has finally returned to Sire Records, with whom he released multiple great albums with The Smiths and in his early solo career. He is now releasing his fourteenth solo album: Make-Up Is A Lie.

A Polarising Figure

If there is an artist out there that one could describe as polarising: Morrissey is definitely it. Bigmouth cannot be accused of being politically correct. This is mostly why Bonfire of Teenagers, was shelved by his record company, even though the singer considers it his best album. The title song, referenced the 2017 Manchester Arena Bombings, where 20 were killed and hundreds injured, which the singer refers to as ‘England’s 9/11’. Deemed controversial, it was never released. And even though Morrissey bought back the rights, the album has yet to see the light of day. 

Morrissey is the type of artist that will divide: some will love him with every fibre of their being, while others will hate him with passion. Some, like me, will hate to love him, while others will love to hate him. But I have to say, with this new album, I stand a little disappointed. I hate that I didn’t quite like this new album.

Decent for a second

The album starts with a couple of decent enough songs. “You’re Right, It’s Time” opens on jangly guitar chords ringing, driving rhythm while his voice soars with lifting melodies. The lyrics, are bit unoriginal: Morrissey gives a few jabs at censorship while singing how much he longs for love. The title-track follows with a little trip-hop feel to it, soaring into a jangly pop chorus. In the lyrics, it feels that he is addressing the city of Paris itself. It also feels as a call for unvarnished truth and expression. 

“Notre-Dame” then comes in, as a major disappointment. It starts with droning synths with a low pulsating rhythmic and evolves to  swirling synth melodies over the chorus, but feels very repetitive. Morrissey hints at some conspiracy theories claiming that the truth was hidden by the official enquiries upon the fire that destroyed Notre-Dame de Paris. But while he claims in the chorus “we will not stay silent”, he offers nothing else. He simply repeats claims: “We know who tried to kill you”, or “Before investigations, they said ‘There is nothing to see here’”. The song ultimately feels underwhelmingly repetitive, and poorly instrumented… I’ve been used to much better from Morrissey.

A Talent Hard to Match

Even if we consider his most controversial songs, like “Bonfire of Teenagers” (which he plays live regularly), “The National Front Disco”, or even “Irish Blood, English Heart”, no one can objectively deny the musical quality. Morrissey always comes up with fantastic melodies, mastering the contrast between sometimes uplifting tunes and dark lyrics. His voice, unique and somehow mesmerising, remained unwavering over the years. And when it comes to controversial part —the lyrics— he always managed to get his message through, sometimes ambiguously, but always with style. But not here.

Later, in the album, we find “Zoom Zoom The Little Boy”, a cute little song that quickly becomes cringe. The little boy on his bike, according to the singer, only cares about joy and wants to save all the animal from the arrogant hoo-mans. The melody is decent, but not enough to make up for the lyrics. “Headache” is a typical hate song by Morrissey, a master in contrasting a lovely melody with a nasty content. It starts well, but unfortunately turns a bit long and repetitive with “I don’t like you” repeated ad-lib —sentiment expressed in so many more creative ways in the past.

The Album’s Better Moments

It is not all that bad though. There are a few good songs, true to the Morrissey’s lyrical and melodic reputation.  “Kerching Kerching” offers lovely synth dream-pop textures, telling a tale of alienation from family and loved ones to focus on career and financial gain. His rendition of Roxy Music’s “Amazona” , is a good tribute performed with own signature touch. “Many Icebergs Ago” is a slow burn tale about growing old, with a poignant instrumentation. “Lester Bangs” offers an interesting tribute to the late music critic, while “The Night that Pop Dropped” is nice little banger that hints at a promising live performances.

A Frustrating Listen

What makes Make-Up Is A Lie so frustrating is that glimpses of Morrissey’s brilliance are still there. When the melodies land, they reach the solid standard one expects from him, but rarely the heights he has proven capable of in the past. Unfortunately, the weaker moments are far more striking. At times repetitive, occasionally cringeworthy, they cast a long shadow over the album’s better ideas. Which leaves me with the rather frustrating feeling that I hate not liking it.