The Jesus and Mary Chain – ‘Glasgow Eyes’ album review: the Reid brothers take a walk on the mild side
THE SKINNY: When you think of The Jesus and Mary Chain, several things come to mind: the fluffy dark bird’s nest of hair that sat on top of their heads back in the 1980s and their propensity for making dissonance noise sound ethereal and romantic. The Scottish band emerged in 1983, several years before shoegaze, although they paved the way for the genre using fuzzy, distorted guitars paired with gentle, airy vocals.
The band’s most acclaimed albums, Psychocandy and Darklands, were released four decades ago, but The Jesus and Mary Chain are still here, returning with their eighth album, Glasgow Eyes. The result is a mixed bag, moving between genuinely impressive moments and others that suggest that there came a point during recording where the band’s ideas were running thin on the ground.
That’s not to say that Glasgow Eyes is a poor effort. Fans of the band will certainly enjoy hearing the group experimenting with synths and flirting with attention-grabbing lyricism, such as “I’d piss bleach to meet you/ Crawl through broken glass to meet you,” on ‘Venal Joy’. Each of these quirky departures proves refreshing.
Yet, you can’t help but feel like something is missing here – something to separate them from the mass of once-popular alternative rock bands who attempt to try something new but seem too scared to push the boundaries too far. A lot of the songs meander along with little momentum, such as ‘Discotheques’, which sees Jim Reid’s voice electronically manipulated as he sings over a lacking instrumental palette. On this track especially, it sounds as though the band have discovered electronic instruments for the first time, trying them out for a bit of fun.
Still, plenty of tracks feel considerably more inspired, such as ‘Mediterranean X Film’, ‘jamcod’ and ‘Chemical Animal’, with the latter using a similar beat to their beloved hit ‘Just Like Honey’. The band are at their best when they’re leaning into their heavier influences, more closely echoing the sound that made them popular in the first place.
Glasgow Eyes is no Psychocandy, but that’s to be expected – that album was released 39 years ago. Regardless, Glasgow Eyes has none of the same innovative or enduring appeal that their debut continues to have. It’s in no way a bad album, instead, it commits the deadly sin of being painfully average, idling along with few memorable cuts to be found.
For fans of: Mild cheddar, trips to Scarborough, having a sensible boogie.
A concluding comment from my boyfriend: “When I was a kid, my grandad used to drive with his knees while rolling ciggies. Listening to this album reminded me of that – struggling to stay in one lane while trying to show off to the grandkids.”
Glasgow Eyes track-by-track:
Release Date: March 22nd | Producer: The Jesus and Mary Chain | Label: Fuzz Club
‘Venal Joy’: Upbeat and a little provocative, it’s a catchy opener that’ll get even the most solemn gig-goers tapping their feet. [3/5]
‘American Born’: The vocal performance on this one is grating, to say the least. The song goes nowhere, and I’d happily never hear this song again.[2/5]
‘Mediterranean X Film’: This one sounds as moody and mysterious as its title. It’s a brooding beast, built around a stirring rhythm. [3.5/5]
‘Jamcod’: The electronics instantly bend and twist with an industrial sensibility that is instantly captivating, making way for a powerful bassline and a quintessentially JAMC vocal performance. [4/5]
‘Discotheque’: Oh god, the autotune was a bad, bad choice. Too dated and kitsch for the melody to redeem. [2/5]
‘Pure Poor’: Monotonous and discordant, the classic JAMC preoccupation with loud noise and textures is here, but it does drag on a little. [3/5]
‘The Eagles and the Beatles’: What the actual fuck is this? This is the most dad-rock thing they could’ve possibly made. “I’ve been rolling with the stones,” Reid sings before listing the members of The Rolling Stones, in case you’re not familiar. I think this is the worst thing they’ve ever done. [1/5]
‘Silver Strings’: This one is intriguing and even a little seductive. [3/5]
‘Chemical Animal’: Another moody and slightly worrying cut here, which sees Reid sing, “There is something I don’t show/ I fill myself with chemicals/ To hide the dark shit I don’t show.” [3.5/5]
‘Second of June’: In keeping with the title, the song has a summery essence, reflected in the simple acoustic guitars, that is perfect for gearing up towards the warmer months. [3/5]
‘Girl 71’: Screaming ‘future Jesus and Mary Chain classic’ more than any of the other tracks here, thanks to a potent guitar riff and singalong vocals that’ll have you joining in after just one listen. [3.5/5]
‘Hey Lou Reid’: This one feels like more of a return to form, offering up a mellow yet sonically diverse close which could’ve been released by the band back in the ‘80s. [4/5]
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