Muziek - The Pleasures Of Self Destruction

The Pleasures Of Self Destruction

€ 14,99

With a wry humor to match that of Jarvis Cocker, a sound that at times echoes the grandiosity of Elbow, and a deep rich voice that recalls Ian McCulloch at his best, Stephen Jones should be one of Brit-pop's national treasures, but for some reason he seems destined to remain one of its unsung heroes instead. The Pleasures of Self Destruction, his 11th studio album and second since reviving the Babybird name in 2010, shows that despite the increasing apathy toward his prolific career, his ability to tackle themes both deliciously twisted and simplistically universal is still as potent and impressive as ever. Addressing the more perverse side of life, the fuzzed-up Kasabian-esque dance-rock of ''I'm Not a Killer'' discusses the idea of how everyday people can snap when pushed to their limits, ''www.song'' is a straightforward indie pop number that addresses the problems of Internet stalkers, while the distorted psychedelic blues of opener ''Jesus Stag Night Club'' (featuring longtime fan Johnny Depp on guitar duties for the second consecutive album) tells the surreal tale of a lad's night out gone wrong. Showcasing his more vulnerable side, the gorgeous music box-style production of ''A Little More Each Day'' perfectly suits its unashamedly romantic lyrics, as do the tender acoustics and twinkling glockenspiels that soundtrack the story of a whirlwind relationship on ''The Best Days of Our Lives,'' while there's unlikely to be a dry eye in the house by the time the poignant piano-led ballad ''I Love Her,'' based on an errant father coming to terms with his responsibilities, draws to a close. Surprisingly, for an artist renowned for being off-kilter, there are a couple of tracks that veer close to Snow Patrol-style stadium rock territory (''Can't Love You Anymore,'' ''Song for the Functioning Alcoholic''), while the echo-laden woozy grunge of ''Don't Wake Me'' may fit its narcoleptic subject matter, but with its plodding beats and forgettable melodies, it's also likely to send listeners to sleep. However, they're the only missteps on a cinematic and uniquely contrasting record that deserves to find an audience much bigger than it almost inevitably will. ~ Jon O'Brien

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