Morrissey's Latest Album: A Disappointing Departure from Past Brilliance
Steven Morrissey, once celebrated for his bookish wit and melancholic pop genius, now faces scathing criticism for his 14th solo album, Make-Up Is a Lie. The record, released on Sire after years of industry drama, is described as nostalgic, sentimental, and ultimately dull, marking a stark contrast to his earlier work with The Smiths. At 66, Morrissey remains an iconic figure, but this album positions him as a shadow of his former self, leaving fans and critics puzzled by his artistic evolution.
Conspiracy Theories and Crude Fear-Mongering
The album's single, Notre-Dame, immediately raises eyebrows with its controversial content. Over a noirish disco beat, Morrissey sings about the 2019 fire at Paris's Notre-Dame cathedral, implying it was no accident and referencing baseless conspiracy theories. The lyrics, "We know who tried to kill you," align with right-wing claims of a government cover-up, showcasing Morrissey's descent into dog-whistle politics. This track serves as a watershed moment, highlighting how social media algorithms and grifters may have influenced his views, transforming him from a pop innovator into a boomer casualty of online echo chambers.
Lack of Insight and Sentimental Flaws
Fortunately, the rest of the album avoids similar conspiracy-laden territory, but it fails to redeem itself. The title track, Make-Up Is a Lie, features a sub sixth-form poetry tautology delivered with maniacal conviction over a plodding breakbeat and flamenco flourishes. Throughout the 12 tracks, Morrissey's vocals remain maudlin and irresistibly tart, yet they now serve as delivery systems for thin sentimentality rather than profound insight. Songs like Kerching Kerching and The Monsters of Pig Alley critique modern capitalism and fame with disdain, but their sonic loveliness is soured by repetitive and ludicrous themes.
Specialist Subjects Fall Flat
Even when tackling his specialist subjects, Morrissey lacks depth. The Night Pop Dropped mourns a musical great with bland chunky funk, while Lester Bangs remembers the late critic as a dishevelled drunk wrapped in an American flag. The refrain, "how does it feel to be you, Lester Bangs?" feels opaquely rhetorical, offering little beyond Morrissey's own nostalgic reflections as a young nerd. This album's appeal largely hinges on residual affection for the hallucinated stranger fans once leaned upon, rather than any substantial new artistic merit.
Industry Drama and Artistic Stagnation
Make-Up Is a Lie arrives after six years of turmoil, including the shelved album Bonfire of the Teenagers and distribution struggles. Rewritten and rerecorded multiple times, it eventually landed at Sire, but the result is an ambling and grandiose collection that veers between synth-pop, glam, and indie without ever deviating far from Morrissey's latter-day formula. The backdrops are utilitarian, designed to foreground his vocals, but they fail to mask the album's overall lack of innovation and emotional resonance.
Legacy and Lingering Devotion
Despite the criticism, Morrissey's legacy as an uncompromised selfhood endures. In a 1984 interview, he acknowledged that fanmail was "not really addressed to me," highlighting the disconnect between his public persona and private reality. Today, Make-Up Is a Lie holds appeal only as a hangover from that same devotion, a reminder of the stranger who once wrote songs that inspired leaning upon. As Morrissey continues to puzzle audiences with his artistic choices, this album solidifies his status as a depressing brainteaser in the world of pop music.
