Sometimes an album of the month is a leap in the dark (some work, some don’t, like N.E.R.D., yikes) and sometimes you have one that you desperately want to do but the timing is wrong, and when it comes to your shot, someone’s bloody bought it. NOT THIS TIME. So I’m rather chuffed to be able to still present Tracey Thorn’s new solo album: Record.
There’s a lot to say here, and a lot of history for me, so I’ll try and be brief, but probably fail. While never being a properly committed EBTG fan (more fool me), Tracey Thorn’s solo work has found a way into my heart ever since her first recent album, Into The Woods, back in 2007 (technically her second, but A Distant Shore was released in 1982!). She’d obviously found me via work where her vocals (Massive Attack) or her songwriting (Missing) made it onto the dancefloor, but seeing a solo album was still a bit of surprise, especially away from her work with husband Ben Watt.
But it wasn’t just good: Out Of The Woods was outstanding. Pop hooks and electronic tinges that became less of a surprise when you realise that it was produced by Ewan Pearson, but this wasn’t another set of dance tracks with Thorn’s ethereal vocals ghosting over them, but a series of wonderful, sparky songs that drew on Thorn’s own life, loves and experiences, and that leapt out from the page. A career renaissance, of sorts perhaps, or a new chapter that I loved from the start. To state this by example, Grand Canyon is still one of my favourite electronic pop records of the last two decades. And there were some amazing remixes too, of course.
Come 2010 and its follow-up Love And Its Opposite, was, while less of the surprise of its forebear, is still a earnestly beautiful album. Less sparky, more mournful, tracking love and loss in middle age with elan and panache. Sorrow never too deep, joy never false, confirming Thorn as a brilliant songwriter and musician all over again. Of course, Pearson made sure it sounded as fantastic as Out Of The Woods. There was even a quirky but utterly lovely Christmas album – Tinsel and Lights – in 2012 that captured the reality (good and bad, laid bare) of what the festive period means in this modern age, and is the only recent Christmas effort that I ever play. Joy still makes me shed a tear on a regular basis.
Fast forward to 2018, and a lot, it’s fair to say, has changed since 1982, even 2007. Because while Thorn’s still writing music, there’s much more to her than simply a musical renaissance woman and borderline national treasure. A column for the New Statesman, feminist activist, author and campaigner: even following her introspective Twitter feed doesn’t really cover everything, but it’s through this wider persona that I developed a bona fide intellectual crush on her. Her brilliant memoir, Bedsit Disco Queen, dovetailed wonderfully with Watt’s own poignant books on his own near-death and illustrious parents, and marked her out as much more than just a pop memoirist, but a woman with something to say. And in the era of #MeToo, it’s arguable to say that Record has arrived at an almost perfect confluence of so many parts of the last few decades of her life. The fact that I’m a 43-year old that grew up not log after Thorn’s generation makes all of the subjects and reference points seem all the more close to home, but really, it’s a statement, almost a manifesto for living in the modern world.
Put simply, I think it’s one of the best pop records of the last decade. And it’s much more than simply an album. Thorn’s openly confronted the misogyny of being lazily labelled a ‘quirky’ (and that is the the lightest in a grim litany of terminology she faces on a weekly basis) woman, and given many great interviews that explains the context of making it. Described as ‘feminist bangers’, it’s the best way to summarise the album’s spirit. From Queen’s opening, bleepy, breezy laments, through first single Sister‘s feminist call (“And I fight like a girl”) to arms, it’s an utterly modern palette of beautiful pop music, seen through the eyes of a woman who’s seen many of life’s highs and lows (the steely and world-weary “What year is it? The same old shit”) but come out determinedly swinging. I’m only a new parent now, but listening to Go is a punch in the heart delivered in a velvet glove. And while the songs – sprinkled with Pearson’s disco stardust again – are musically polished and melodically gorgeous, its the lyrics that are arguably the strong point here. Its also is no surprise there’s been gigantic remixes already that are a must for house fans, but they’re an added bonus to the whole experience.
Let none of that take away from the fact that there’s few albums around this decade that have combined great songwriting, fantastic tunesmithery and political and social relevance like this one. I can only hope you can get what I have out of it.