The Psychedelic Furs’ New Album: As Dark and Witheringly Relevant As Ever
The Psychedelic Furs have a new album. It’s really good!
Let’s be clear, this isn’t the same band who channeled horrorstricken, Joy Division-class angst with their densely atmospheric 1989 classic Book of Days – or whose guitar/organ/alto sax-fueled post-Velvets stomp had established them as one of that decade’s most important bands several years earlier. The sound of this record is closer to the former than the latter, with an even techier, postrock feel in places. Among core members from the group’s classic period, only frontman Richard Butler and keyboardist Joe McGinty remain. Butler, however, is in strong voice, and writing with the same withering punk sarcasm and bleak imagery that informed his best work. And the replacements – Richard Fortus, Jon Carin and someone who goes only by “BT” (could that be another founding member, Butler’s bassist brother Tim?) – share a commitment to the murk.
The album is titled Made of Rain; it’s streaming at Spotify. The first track, The Boy Who Invented Rock & Roll seems to be an Elvis parable, awash in vastly pulsing atmospherics and all kinds of guitar effects, Butler’s baritone a savage rasp overhead:
The druggy days the pointless pain
My glitter hips this bloodless ass
The endless days the starless dark
A bag of tears where love is gone
Her darling pays, a siren song…
The breathless air, the frozen tide
The greenless spring, the timeless night
The suicidal drunken dance
The sense that things will fall apart
In the wordless, echoey outro, the distantly reverberating flutter of a sax, and the snap and crackle of the bass rise up through the swirl.
You’ll Be Mine follows the same architecture: long, trancey verse and a big turnaround on the chorus. Butler works variations on a sarcastic “don’t be surprised” theme – this isn’t about seduction. He pushes his voice beyond where he really ought to (then again, he always did that) in the more upbeat, catchy, distinctly new wave-flavored Wrong Train. This song’s a typically imagistic narrative about a missed connection, in both senses of the word. Drugs and their dark side are a recurrent theme here.
This’ll Never Be Like Love has a slower, dreamlike sway: throughout the album, the soprano sax is a tasty, tasteful textural contrast. The band return to rainy-day washes of sound with the somber, wee-hours resignation of Ash Wednesday. Then they pick up the pace with the junkie cynicism of Don’t Believe, layers of icy chorus-box guitars filtering through the mix.
Come All Ye Faithful, a venomous minor-key kiss-off anthem, has as much of a funky bounce as this band could ever manage. No-One is a sequel, just as vicious and even catchier, set in a place where everyone’s “Dressed up in Halloween, where nobody ever screams.”
McGinty’s baroque electric piano ripples anxiously in Tiny Hands, a grimly knowing account of family dysfunction. Butler keeps that theme front and center over an acoustic-electric sway in Hide the Medicine. The band close the album with Turn Your Back on Me and its dreampop Dark Side of the Moon sonics, and then Stars, a wistfully twinkling, distantly Lynchian anthem.
Where does this fit in the Furs’ hall-of-fame lineup of albums? Somewhere in the middle. File this between the musically rich but lyrically deficient 1991 album World Outside and the 1982 classic Forever Now.