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Eight
years on from
PiL’s last album and the world at large has changed dramatically. In
addition, the album has arrived at a pivotal time in PiL’s history,
having
been conceived and recorded during a tumultuous period in John’s own
personal life.
End Of
World
begins with the sinister and striking Penge. It
sets the atmospheric tone befitting the album’s title; “you’ll see
me there…the depth of misery, welcome to Penge”. Welcome to PiL 2023,
edgey, unnerving and challenging.
This feeling is explored further in The End Of The World,
“no surrender, no cowards here”. It’s a punchy, quirky track that
conjures up the musical landscapes of 80s PiL while adding a
contemporary urgency.
Car Chase
has an undercurrent of energy running
throughout, reflecting the subject at large. "I don’t get bored I get
ignored" John quips. It’s powerful with its air of industrial
menace. Being
Stupid Again is a real gem. Shimmering and hypnotic in
execution, John challenges the cycle of sloganeering which grips each
generation in turn. His barbed side swipes at some of the absurdities
of woke and student culture are both sharp and tongue-in-cheek, “You’re
being students again… how much
money for that education?”
Walls, with
its laid back melody, sees John in Music Hall mode as he asks whether
walls protect or impound. It illustrates the confidence John has in his
lyrics, there’s no hiding or fudging, his delivery is clear, he wants
the listener to take note. Likewise Pretty Awful
puts John’s vocals centre stage, although this particular tale is told
with a heavy dose of humour. The girl in question clearly has few
redeeming features, but even so he declares “I like you” before adding
with a metaphorical wink, “we’ve all done worse”.
Strange sees
PiL back in a hypnotic groove mirroring the message as we’re urged to
look between the lines for the evil. Mellow but menacing, it’s a sound
conjured up to match the feeling of John’s words. The band’s ability to
reflect the lyrics in the music has been perfected over the years. It’s
an artistry that enables PiL to vary styles while retaining a uniform
sound. It’s further evident on the following track Down On The Clown
which gathers sonically like the weather; “the rain keeps coming down…
clouds of shame. He’s on his own again”. The first half is spookily
overcast, by the time of the finale the heavens have opened and we are
in Rise territory. It’s an outstanding, glorious
mini-epic.
Dirty Murky Delight
is a funky, laid back humorous affair; “one lick and you know it ain’t
right”. Try not to smile when John gets going; “donkey carrot and
stick, knows how slow you tick”. It’s a brief respite from the darker
more serious and personal side prevalent on the album. The
perky The
Do That bounds along with a 70s glam rock vibe, although
its message is light years from bubblegum. Not doing what you’re told
is what it’s all about. Musically and lyrically pacey, it packs a lot
into 2 1/2 minutes. It’s very, very good.
LFCF (liars,
fakes, cheats and frauds) is underpinned by a Metal Box-esque flavour.
“You couldn’t write what I write” John tells all his
detractors. He’s a wordsmith and he lets his words lead the attack,
sending the enemy skulking off. It’s both general and specific with a
no show for a meeting in Romford getting short shrift. The band add
captivating texture to the track giving it an extra edge.
“Could it
be the end
of my life?” ponders John during North West Passage
as he seeks escape. It finds John howling at the moon and taking a leap
into the unknown, away from the trappings of the modern day towards a
simpler life. After the tragedy of his recent loss, such contemplation
is unsurprising. Sonically it’s dark and noisy - once again the band
enhance the song’s emotion. If you look deeply it’s also a song of
hope.
The much loved Hawaii brings the
LP to a close. Its melancholy tones can be detected throughout the
album, so it's fitting the reflective nature of John’s touching love
song should conclude this body of work. The preceding tracks should all
be listened to with this in mind. All roads lead
to Hawaii.
Despite
the
variation in styles within the album, PiL have delivered a uniform
distinctive sound throughout. It is not a random collection of bits and
pieces, but a project in itself, a throwback to the days when albums
were made to be listened to from start to finish. The thoughtful
sequencing takes you on a trip to the different lands that inhabit
planet PiL. John’s lyrics/poetry are as sharp as ever and the
flexibility of PiL’s musical format allows John to share his
wisdom.
John once
said he was a noise organiser. The stalwarts he recruited
into the PiL ranks all those years ago know how to assemble the
required levels of commotion, ranging from calm to cacophony. It’s all
in evidence on PiL’s latest triumph. “They let me out at the weekends”,
John divulges. Now we know what he does the rest of the week, conjuring
up wonders like End Of World. Fabulous from start to finish.
Review by
Phil
Singleton
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