Critical Myth-Interpretations

This is the first novel in a quartet set during the timeline of the original series, rather than the previous prequels and sequels.  On the one hand, this approach grounds the story in more familiar waters.  On the other hand, this serves to highlight the glaring differences between the Frank Herbert continuity and the new canon that has been shaped around it.

All things being equal, I don’t hate the content of the new canon; I simply see it as one vision of how it might have been finished and fleshed out.  It’s the same way I regard the “Second Foundation Trilogy” with respect to the original Asimov material.  It proposes a more definitive ending and interpretation, but it’s just that: an interpretation.  The originals stand on their own, and the new canon is, without debate, a kind of revisionist history.

As such, I’ve always viewed the books from a meta-fictional perspective.  The originals present one view, the new canon another.  Historical novels always fudge facts to support their interpretations, and so the same follows suit here.  I don’t accept much of the new canon as the intentions of Frank Herbert, but they do manage to remain fairly consistent within their own skein.

This is, of course, why the novel is not just a bridge between “Dune” and “Dune Messiah”.  It also touches on a “forgotten chapter” of Paul’s life, resolving items left open at the end of the “House Trilogy”.  In the process, items mentioned in passing in “Dune Messiah” are expanded upon, sometimes in unusually satisfying ways.

Yet this is damning evidence in and of itself.  Brian Herbert and Kevin Anderson are so consistent with their own plot threads, characterization (however shallow), and timeline that it’s hard to believe that they would somehow manage to make so many mistakes in terms of inconsistencies with the original novels.  Several instances in the book are designed specifically to gloss over earlier mistakes and claim that they are, in fact, just the result of propaganda.  In other words, the authors essentially use this novel to establish the novel “Dune” as nothing more than an in-story example of Irulan’s efforts to control perceptions of Paul’s jihad and empire.

This is hubris and disrespect on a level that is practically beyond words.  Had such an interpretation been reserved for the epigraphs in “Dune”, it would have made perfect sense, as it serves the purpose of propaganda within “Dune” anyway.  It would have been consistent.  But placing the entire novel in that context?  It’s effectively saying that the Frank Herbert novels were “wrong”, and the new canon is “right”.

It certainly makes sense of the decision to treat the original continuity with such poor care, picking and choosing what to absorb into their own self-aggrandizing vision of what should have happened.  This is unfortunate, because the book is one of the better “new canon” efforts.  One glaring and unnecessary choice of ego overshadows it all.

Rating: 7/10

The previous two albums by U2, as well as the “best of” compilations in the post-“Pop” era, have represented something of a return to a more straightforward rock approach.  Both albums are an amalgam of “War”, “Joshua Tree”, and “Achtung Baby”, and as such, they touch on all the things that fans love about U2.  At the same time, the past several years have delivered some truly horrible lyrics.  Bono’s writing can go from poetic to clunky in a matter of seconds.  So the question going into this album was twofold: 1) will U2 continue to deliver more of the same, and 2) will the lyrics be more inspired?

1) No Line on the Horizon – This song gets the album off to a decent start.  It sounds a lot like the more rousing anthems from recent albums, with a bit more atmosphere.  One thing that I did notice, of course, is the continued degradation of Bono’s upper register.  He struggles a lot in this song.  (7/10)

2) Magnificent – This is easily one of the highlights of the entire album, and even transcends much of the material from the past decade.  There are immediate comparisons to “The Unforgettable Fire” and its more experimental “European” sound.  This would be great live!  (10/10)

3) Moment of Surrender – The experimental tone continues here, with a gorgeous and meditative epic.  The music here is wonderful, and while the lyrics are a bit pretentious here and there, they fit the tone of the piece.  (9/10)

4) Unknown Caller – The song starts out well, continuing pseudo-“Unforgettable Fire” vibe.  The music is particularly strong.  The chorus, however, is weak and fails to match the excellence of the musical landscape.  The unfortunate thing is that the song would work perfectly without it!  (7/10)

5) I’ll Go Crazy If I Don’t Go Crazy Tonight – This song is a bit of a step backwards, and sounds like it would fit better on “All That You Can’t Leave Behind”.  It’s the kind of song that would never be missed if it was absent.  Distressingly average.  And that opening falsetto is just plain awful.  (7/10)

6) Get On Your Boots – Easily the weakest song on the album, and tonally, it doesn’t really fit.  I have no idea why they would have chosen this song as the first single; it doesn’t really represent the album very well!  It makes the band sound unfocused and out of touch.  (5/10)

7) Stand Up Comedy – This brings things back in the right direction.  This is often a standard rocker, but moments soar, and this is going to be a great song live, particularly during the chorus.  (8/10)

FEZ – Being Born – This is quite unusual for a U2 album, but it works beautifully.  It fits the overall experimental tone of the album, and it highlights the musical ability of everyone involved.  This is the kind of song that works within the context of an album.  (8/10)

9) White as Snow – This song starts out in the same vein, and continues with a maudlin tone that is reminiscent of certain songs from “Rattle and Hum”.  It never quite soars, never quite touches that next level, but it is a solid track for the album. (7/10)

10) Breathe – Starting with a roar, this is another song that will be incredible live.  There are some lyrical issues along the way, but nothing too horrible, and the structure of the vocal lines is different in a good way.  It’s the last major statement for the album, and in that capacity, it’s a strong one.  (9/10)

11) Cedars of Lebanon – This is a relatively quiet coda to the album, touching more on the atmospheric elements of the album and tying them together, beginning to end.  The lyrics are a bit hokey, to be honest, but this is more about mood and message, so the preachy tone is to be expected.  The ending, however, is a bit abrupt, leaving the album feeling unfinished.  (7/10)

With this album, U2 avoided the temptation of repeating themselves again, and for the most part, took the better elements of the past few albums and incorporated them into material closer to their artistic and experimental leanings.  While the music certainly continues to be excellent, in some ways expanding on the established sound, the lyrics remain a weak link, continuing the trend that began in the wake of “Rattle and Hum”.  Interestingly, the band has noted that they have more than enough material for a second album, closer to their usual sound, and they may be releasing that in the near future.

Final Rating: 7.6/10 (above average)

Morrissey was one of my favorite artists in my college years, and I associate his music very strongly with a certain old friend from that time of my life.  I was always sorry to see the Moz drop off the map, and was thrilled with “You Are the Quarry” when it was released.  I was less moved by “Ringleader of the Tormentors”, the follow-up, so I was a bit concerned about this latest collection.

1) Something is Squeezing My Skull – The album gets off to a rousing start with this track.  The lyrics, as usual, are clever, cynical, and sardonic.  I particularly the laundry list of antidepressants in the middle of the song.  This is the kind of song that will be awesome live!  (8/10)

2) Mama Lay Softly on the Riverbed – This song has its good points, including a driving rhythm, but the middle section is a bit of an unnecessary noisy mess, and that takes a bit away from the overall effect.  What is essentially a song about wanting to lie down and die next to a dead mother is remarkably perky.  (6/10)

3) Black Cloud – Another good rocker, and another one that should be great live.  Nothing particularly distinctive, but a solid addition nonetheless. (7/10)

4) I’m Throwing My Arms Around Paris – This is the first single for the album, which I suppose I can understand.  The song fits the classic Morrissey mold, both in musical style and tone.  Even so, it’s nothing amazing, about on the level of “Alma Matters”.  (7/10)

5) All You Need is Me – This brings the album back to a harder sound and a bit more vocal variety.  This is sounds like a great bar song, especially as the end of a lively late-night set.  (8/10)

6) When I Last Spoke to Carol – I’m not quite sure I get this song, from a lyrical point of view or the musical mash of rock rhythms and Latin horns.  I’ll give them props for originality, but this is not the kind of song I would listen to often, that’s for sure.  (6/10)

7) That’s How People Grow Up – This one starts out very oddly, with bizarre operatic singing over the usual rock chords.  It never really transcends that beginning to find a particularly engaging identity.  (7/10)

One Day Goodbye Will Be Farewell – This is a dark little rocker that will likely become a live anthem for fans.  Those horns come back in again close to the end of the song, and the keyboards are a bit much, but it’s still solid enough to compete.  (7/10)

9) It’s Not Your Birthday Anymore – This builds into quite a cruel rock ballad, to say the least.  I can see this being used to good effect in some film and television montages.  It’s about as close to a soaring U2-esque arena anthem as Morrissey will ever get.  (8/10)

10) You Were Good in Your Time – This is a lot slower than most tracks on the rest of the album, and it seems out of place right from the beginning as a result.  And then the song descends into a morass of noise for half the running time.  It might work for some, but it didn’t work for me.  (5/10)

11) Sorry Doesn’t Help – This is certainly a lot more upbeat than the previous track, and gets the album back on its original rocking course.  It’s nothing distinctive, but at least it has a solid beat and charge to it.  (7/10)

12) I’m OK By Myself – This is very much like the prior track, and really, like most of the album.  It has a solid heavy sound, and the lyrics have the same snap and crackle, but it’s not soaring.  It does, however, gather into a much heavier sound than the rest of the album before it ends.  (7/10)

If Morrissey was looking for the chance to put together an album that would work for a brawling bar tour, then he was for the most part successful.  Other than the obvious leading single, this is not the most radio-friendly fare, and if it wasn’t for Morrissey’s typical crooning or poetically devious lyrics, it wouldn’t sound like a Morrissey album at all.  It’s a solid enough album, but there’s definitely better Moz material out there.

Final Rating: 6.9/10 (average)