Melody Maker, February 28, 1981: Difference between revisions
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"Watching The Detectives" continues this role of voyeur but the speaker has become violent ("I get so angry"). The song is charged, more indebted to punk, as are the songs on "''This Year's Model''". | "Watching The Detectives" continues this role of voyeur but the speaker has become violent ("I get so angry"). The song is charged, more indebted to punk, as are the songs on "''This Year's Model''". | ||
COSTELLO’S move from Stiff to Radar represents a major transition. The addition of The Attractions constitutes a great enrichment and lightening of sound. The production of “This Years’ Model” is deeper, richer; and whereas the songs of “My Aim Is True” were fragmentary, “This Years’ Model” presents a coherent picture of society. | |||
The ironic observer and anti-sentimental commentator becomes a prophet with a dark vision. “This Year’s Model” presents a world of “luxury” (“Living In Paradise”) containing all the trappings of modern consumerism – photographs, videos, telephones. | |||
Costello the ex-computer operator condemns this mechanised world. As in Ferry’s “In Every Dreamhome A Heartache”, to be surrounded by luxurious but inhuman consumerist gadgetry results in alienation between the individual and his environment, and in de-personalisation of human relationships. | |||
Girls have become part of this consumerist package world: mass-produced, no longer real, they have become products to be owned (“You Belong To Me”). This ambiguity is maintained in the album’s title; is “This Year’s Model” a new gadget, or a real person who will become dated, instantly disposable (“She’s last year’s model”)? | |||
People are turning into mechanical objects (as in “I’m Not Angry”, “I’ve got this camera click-click-clicking in my head”) and, in emotional relationships, are treated accordingly (“You want to throw me away/ But I’m not broken”, “I hold you like I hold that bakalite in my hands”). | |||
If “love” is not seen in terms of mechanisation, it is a terminal disease (a tumour), a fatal addiction (a narcotic). Girls are two-faced (“Little sniggers”) and threatening. Metaphors and clichés become charged with violence (“Little triggers that you pull with your tongue”; compare the later “loaded imagination being fired by girls’ talk”). | |||
A conventional romantic handsqueeze is liable to turn into a deathclinch (“Shake you very gently by the throat; “Hand In Hand”). Escape from this world is offered only as a slim chance. Mechanical gadgetry cannot explain or control all the forces of the universe, as the ghostly photograph on the back cover suggests. (Hence Costello’s attraction to the “unphotographable” girl of “My Funny Valentine”). | |||
One way of escaping from the mechanised world is through the feelings – the word is significant throughout “This Year’s Model”, for emotion is of the things, as “Girls Talk” later suggests, which cannot be covered up “with lipstick and powder” – i.e. the cosmetic deceptions of materialist life. | |||
Costello is aware, however, that simply indulging our feelings may result in explosions of violence (“Lipstick Vogue”). Feelings are only significant if they are meant (another crucial word throughout Costello’s work). Usually we do not mean what we do or say – hence Costello’s fascination with alibis, the stories which disguise truth. | |||
Speaking may also provide an escape from the mechanised world. (Speech is Costello’s most central concern). By breaking silence, we risk violence (the broken/spoken rhyme occurs twice on “This Year’s Model”); but speaking out must still be undertaken, for by speaking we cease to be the mere watchers of “Watching The Detectives” and “Living In Paradise”, and begin to move out into a real world of action. | |||
And on “This Year’s Model” Costello himself moves from his earlier stance as ironic observer, becoming more deeply implicated in social and emotional concerns. | |||
'''ATTACK''' | |||
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Revision as of 11:30, 16 July 2017
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