XTC
Wasp Star: Apple Venus Vol. 2
[TVT]
Rating: 8.0
A certain age-old question has once again raised its nappy-ass head, troubling the small segment
of society that spends way too many hours writing about pop music. The question: what makes one
person love a song that another person hates? How can my co-workers prefer Lit to Mingus? Is
there an actual reason, defensible on a theoretical level, for how I can love Shudder to Think
and hate Queen? The idea of certain music having "meaning" has been put forth as an explanation,
and likely, this is the explanation to which most of us gravitate. We generally prefer the idea
of personal significance to the concept of a continuum scale of consensual meaning.
But the discussion of meaning in pop music is probably best tabled, and quick. The question,
"What does this song mean to me?" is a semiotician's nightmare (or freaky sex dream-- what's
the difference?), and few rock critics are up to that particular ontological and epistemological
tangle. Certainly, I'm not. Forty years after a couple of French eggheads administered a
fairly sound lashing to the idea that language is capable of any real attempt at communication,
we're probably better off not suggesting that the Magnetic Fields are better than N'Sync based
on some tenuous idea of signification.
Frankly, it's practically an unanswerable question. The sooner we abandon our personal quests
to convince so-and-so that, say, Fleetwood Mac sucks, the better. Still, for what it's worth,
I'm attracted to a linguistic approach. I like the idea that language acts on the brain and
imposes an order on the actual physical organ. I like the idea that a sentence, or a guitar
solo, is constructed based on certain neurological realities. I like the idea of my brain
having a "taste center" in addition to a "language center" and a "motor center." Because with
that formulation, the issue of self-worth immediately drops out and I get to stop feeling shitty
for liking music that others hate.
Which brings me, in a way, to Wasp Star. This album went straight to my taste center,
inhibiting serotonin reuptake and giving me a sense of pleasure and well-being. Moreover, it
got me thinking about pop music and the brains that both make it and consume it.
Andy Partridge has got some brain. Whatever deep structure informs his pop syntax, the songs
that result have just gotten better over time-- and there are a grip of good songs on Wasp
Star. The lead-off, "Playground," is a fantastic pop song whose introductory riff recalls
the opening of The Black Sea's "Respectable Street." Over crisp guitars and big drums,
Partridge relates his recent money and romantic troubles to schoolyard drama. "Playground,"
"We're All Light," "I'm the Man Who Murdered Love," and "My Brown Guitar" are all offspring of
the sound XTC honed to a monomolecular edge during the '80s-- great hooks, full sound, baroque
production values. On the merit of those four songs alone, Wasp Star lives up to its
potential as an electrified companion to last year's Apple Venus.
Partridge's peculiar lyrical sensibility is in full force here as well. Sometimes syrupy, often
even willfully ditzy, but never hackneyed, Wasp Star's lyrics closely recall Oranges
and Lemons in their playfulness and sheer word-per-song density. Even Partridge's
occasional patches of bitterness come off as exultant due to their shiny pop settings. The
single exception comes with "Wounded Horse," as straight-up a twelve bar blues number as XTC
are capable of producing. Colin Moulding's three songs are a bit more subdued and folksy, and
perhaps more suited to Apple Venus's sensibility, but they hold up well to the guitar-
oriented nature of this album.
What XTC are never really given enough credit for is Partridge's guitarwork. He's an endlessly
inventive guitarist, whether backing a verse with bursts of bizarre, inverted chords or playing
an all-out jazz-inflected solo. In fact, his strange phrasing and over-the-bar articulation
is what got me thinking about linguistics in the first place. Something in his brain makes his
guitar sound a certain way, and something in my brain makes that way sound pretty damn good.
It's true that Wasp Star is less thematically linked than Apple Venus, and some
have criticized this seeming lack of cohesiveness. But honestly, "cohesive" is a word that
crops up in too many record reviews, and if Wasp Star has less of it than other late
XTC albums, it doesn't detract from the quality of the album. It's a great bunch of songs,
and it solidifies the notion that XTC are back from the wilderness and ready to rock the show.
My brain is glad for it.
-Zach Hooker