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Momus - Scobberlotchers (2016)
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Momus - Scobberlotchers (2016)

8-09-2016, 16:34
2016 | Pop | Indie

Title: Scobberlotchers
Year Of Release: 2016
Label: American Patchwork
Genre: Indie Pop, Singer-Songwriter
Quality: 320 kbps
Total Time: 65:19
Total Size: 152 MB


01. Heian 03:21
02. Tick of the Clock 03:46
03. Art and Design 02:50
04. Little Girls 02:37
05. Cabin Porn 02:31
06. The Death of Empedokles 02:50
07. Icek Judko 02:58
08. Neo-Weimar 02:47
09. The Brothers 03:38
10. Perlenschwein 04:06
11. Bullshit 02:28
12. Bashibazouks 03:19
13. Year Zero 04:50
14. What Are Facts? 03:25
15. Imperial 02:32
16. The Counting Song 02:28
17. Pessoa 03:58
18. Ass 03:25
19. Hatecrush 04:03
20. The Torch 03:27

Scobberlotchers - recorded by Momus in Osaka immediately after Britain's shock referendum decision to leave the European Union - is the first post-Brexit album, and certainly won't be the last (although it may turn out to be the best). "Post-Brexit" is a music sub-genre which shares certain features with the more personal, more familiar post-breakup album: both are driven by cataclysmic splits, ire and belly-fire, recriminations, insults, and at least four out of the five stages of the famous KГјbler-Ross model of bereavement-grief: denial, anger, bargaining, depression and acceptance. Momus - a European to the core, despite his move to Japan - responded first to the Brexit vote with a string of Captain Haddock-like insults. As the songwriting evolved, Brexit took it's place in a larger and more disturbing pattern, confirmed by a coup in Turkey and Trump's successes on the American election trail: an uptick in populist isolationism, the sudden apparent acceptability of overt racism, and increasing acts of terrorist violence or random hatred. Extrapolated, these developments pose the threat of a looming neo-imperial order with it's own sinister "year zero". But Scobberlotchers isn't all menace: jubilant songs like Heian and Perlenschwein remind us that even in the darkest, most "interesting" times there are solid consolations in the form of love and art. And Momus' continuing use of Japanese folk music (mixed here with dissonant snatches of 20th century avant-garde classical music as well as straighforward pop) reminds us that although the West may be entering a bloody decline, Asia remains serene and optimistic.

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