When news broke of a new Morrissey single and album last week (both titled “Make-Up is a Lie”), one thing was assured: it was going to get people talking. That, along with the cancellation of several upcoming tour dates.
Perhaps the most “marmite” artist of all time, it’s hard to find an artist who divides opinions as much as Morrissey. To some, he is so beloved that going to one of his concerts is a religious experience. To others, he is so detestable that there are social media groups with names like “the Morrissey Hate Club”, with detractors dismayed by how his recent political positions on immigration and nationalism are so at odds with the socialist values his early work appeared to advocate.
Morrissey has consistently argued that his views are focused on British identity and freedom of speech, not racism, and has denied that his contemporary nationalist stance conflicts with the anti-establishment and socialist values of his early work with The Smiths. In a 2018 blog post, he wrote: “I despise racism. I despise fascism.”
Morrissey’s relationship with the media has been similarly complex. In 2007, for example, he wrote a piece on the Guardian’s music blog about how the NME had “deliberately tried to characterise” him as a racist. Then, in 2019, he was quoted in the NME for saying the Guardian was running a “hate campaign” against him for running an article that accused him of supporting far-right ideologies.
Love or hate him, people remain fascinated with Morrissey. And this means that most of the music media covered the news of his new album, even if, like Spin magazine, they did so through gritted teeth.
A 2019 Guardian article observed that it “can be difficult — painful, even — to untangle the things you love about Morrissey from those you despise”. But when it comes to the actual new music, does the good outweigh the bad?
Title shots
At present, with the exception of the single “Make-Up is a Lie,” fans have only the song titles for the rest of the album to go on. The track list was shared via social media on Christmas Day.
What we can take from this limited information is that Morrissey continues to come up with intriguing, unique and often bizarre song titles. Joining the likes of “Don’t Make Fun of Daddy’s Voice” (2004), “Kick the Bride Down the Aisle” (2014) and “Jim Jim Falls” (2020) from his back catalogue are new titles: “The Monsters of Pig Alley,” “Zoom Zoom the Little Boy,” and “Many Icebergs Ago.” Interesting, yes. But, as songs like “Julie in the Weeds” (2014) and “Never Again Will I Be a Twin” (2017) testify, compelling titles don’t necessarily lead to compelling songs.
Addressing what he saw as a media attempt to delete him “from being the central essence of The Smiths”, in 2024 Morrissey asserted that he “invented the group name, the song titles, the album titles, the artwork, the vocal melodies and all of the lyrical sentiments”.
From this list, it’s Morrissey’s authorship of vocal melodies that is most often overlooked, and it’s rare to find any reference to his songwriting contributions that goes beyond the lyrics.
Yet, for all the skill of his talented co-writers over the years, be that Jonny Marr, Alain Whyte, Boz Boorer, Jesse Tobias, or, in the case of Make-Up is a Lie, Camila Grey, those lead lines are Morrissey’s. And, when thousands of fans are singing them, like the performance (below) of There Is a Light That Never Goes Out at Move Festival in Manchester, even his staunchest critics cannot deny his talent for writing catchy melodies.
Make-Up is a Lie may never be an anthemic sing-along in the same way as There is a Light, but the chorus, with its melodic leaps and repetition, does at least contain two of the components that scientists believe make up the “earworm effect,” which will make it hard to forget (whether we like it or not).
Rhyme time
At his best, Morrissey employed a range of rhyme types, allowing him to draw from a wider vocabulary, resulting in lyrics that simultaneously felt startlingly fresh and comfortingly familiar.
In both The Smiths and in his solo career, Morrissey has used assonance, family, additive, and consonance rhymes in songs like “That Joke Isn’t Funny Anymore” (1985), “Rubber Ring” (1987), “Our Frank” (1991), and “Lifeguard Sleeping, Girl Drowning” (1994).
When he used “perfect” rhymes (rhymes where both the vowel sounds and any consonant sounds after them are the same), he was often innovative, for example, rhyming “northern” with “worse and” (1992’s “We Hate it When Our Friends Become Successful“).
In recent years, though, Morrissey seems keen to write lyrics containing more obvious perfect end rhymes. There’s been “place/face” (“Earth is the Loneliest Planet,” 2014); “babies/rabies/scabies” (“Neal Cassady Drops Dead,” 2014); “bus/fuss” and “train/strain” (“Spent the Day in Bed,” 2017); “Room/ gloom” (“The Secret Of Music,” 2020); and “sleuth/ truth” (“The Truth About Ruth,” 2020). And, of course, the “kegs/legs” rhyme in 2006’s “Dear God, Please Help Me,” where the line “there are explosive kegs between my legs” is a prime candidate for his worst ever.
Pleasingly, Morrissey is more expansive and imaginative with his rhyme types in Make-Up is a Lie (“reclusion/explosion” and “Paris/granite”), with only “outburst and cloudburst” seeming like a slight regression.
Whether 2026 will prove another difficult year for Morrissey fans won’t rest solely on the music he releases, of course. There will be interviews to nervously watch and press to nervously read, and it’s inevitable that the words “cancellation” and “controversy” will never be far away. But a strong album would certainly be a boost for those who fall on the love side of the Marmite divide.
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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