Upon leaving
the Smiths in 1987,
Johnny Marr embarked on a musical walkabout, choosing to collaborate rather than build a career. He began playing studio sessions, appearing on records by
Talking Heads,
Pretenders,
Kirsty MacColl,
Pet Shop Boys, and
Billy Bragg, embarked on an extended collaboration with
Matt Johnson of
The The, and formed
Electronic with
Bernard Sumner, effectively sitting out the great Brit-pop explosion of the ’90s. By the turn of the millennium, he finally tried his hand at fronting a band, turning in the underwhelming
Boomslang with
the Healers in 2003, before once again sliding into a supporting role, joining
Modest Mouse in 2006 and then decamping for
the Cribs a few years later.
Marr‘s time in two bands kick-started something within him, as after he departed
the Cribs in 2011, he relocated to his hometown of Manchester and set about recording
The Messenger, his first full-fledged solo album.
The Messenger is an unapologetic return to his roots, sounding for all the world as if it could have been released in 1990, just a few years after
Strangeways, Here We Come, which isn’t to say it’s a collection of demos awaiting finished vocals by
Morrissey.
Marr has long demonstrated an affection for electronics and dance rhythms, evolutions
Moz considers as anathema, so it’s hard to picture the album’s title track, pulsating along to a slick disco beat, or the angular, echoing syncopation of “Word Starts Attack” coming out under the
Smiths rubric. Nevertheless, considerable portions of
The Messenger are filled with riffs and guitar textures
Marr could conceivably have used during the band’s brief life, and the effect isn’t a desperate attempt at recapturing the past but rather an embrace of his core strengths as both a guitarist and songwriter. The latter is as crucial as the former, perhaps more so, as
Marr‘s painterly skills as a guitarist have never been in question while his steadfast avoidance of releasing new songs under his name has obscured how he was the sonic architect of
the Smiths. One quick listen to
The Messenger brings all his signatures rushing back — the intricate, intertwining arrangements, the insistent riffs finding a counterpoint in the elastic yet precise melodies, a romance with the past that doesn’t negate the present.
Marr has avoided these traits, so hearing each in full bloom on
The Messenger is rather thrilling; he’s no longer wandering, he’s found his way back home
Although based in Seattle, Ivan & Alyosha create a sound that’s distinctly Californian, with acoustic instrumentation and bright vocal harmonies that evoke the West Coast’s summery, Southern locales. The band formed in 2007, when solo songwriter Tim Wilson met Ryan Carbary. Taking their name from Dostoevsky’s The Brothers Karamazov, the two began playing together, eventually traveling to Los Angeles to record a folk-pop EP with producer Eli Thompson. The Verse, The Chorus was released in early 2009, paving the way for a healthy tour and a decent amount of national buzz, including a nod from NPR’s “All Songs Considered.” Things picked up again in early 2011, when the band — now a four-piece featuring Wilson’s brother, Pete Wilson, as well as Tim Kin — released the sophomore EP Fathers Be Kind and launched another tour. An impressive full-length album, All the Times We Had, appeared from Dualtone Records early in 2013.
