Officially released last March, "Make-Up Is A Lie" is Morrissey's 14th., studio album, considered one of the most unispired records on Mozza's carreer, this new album is just a scattered collection of tunes, although you can find some interesting and appealing cuts.
Morrissey announced the tentative production and release of a new album titled Without Music the World Dies on 8 December 2022. The album was recorded in January and February 2023 at La Fabrique Studios in St-Remy, France, and was produced by Joe Chiccarelli, making it his fifth collaboration with the singer. It was produced outside the bounds of a record contract, as Morrissey had parted ways with his former label Capitol Records in December 2022.
The album was initially scheduled to consist of twelve songs, collectively written by Morrissey and members of his band, but this was later reduced to ten songs with returning producer Joe Chiccarelli helping to accommodate a well-textured palette of contributions from players including Jesse Tobias, Alain Whyte, Gustavo Manzur, Camila Grey, Juan Galeano and Carmen Vandenberg.
On the new album's former and opener title track "You're Right, It’s Time," Mozza's opening missive is, "I wish to move away from those who stare at screens all day/I want to speak up and to not be trapped by censorship." In certain ways, he’s right and a quite tune to start. Continuing the brutal opening stretch are the songs released as advance singles "Make-up Is A Lie" comes next and tells a story about a poet in Paris who silently tells Morrissey an important message, even after her death.
Roxy Music cover Amazona is here but isn't the best example, suffering from a kind of turgid reverence that lacks both the panache a more daring interpretation might bring and the original's alien strangeness. But the pop idolatry Morrissey continues to admire – and, for some long-haul followers, to some extent embody – is better served elsewhere. The catchy "The Night Pop Dropped" would have made a more persuasive single than Make-Up, whether you read it as a reference to the loss of David Bowie or a non-specific star. Either way, the song's funky keys and new wave-ish jerk bring lively and unexpected twists to the board, a long way from Morrissey's sometimes lumpen chugabilly solo settings.
With "Lester Bangs" he pays tribute to the rock journo almost touchingly, depicting how a life of squalor is ameliorated almost mystically when Bangs writes and "3,000 miles away, this nerd hangs on your word". If there’s mileage left in Morrissey’s revisits to Wilde's gutter-and-stars equation, this cheering valentine to a transatlantic writer/reader bond finds it.
"Zoom Zoom The Litle Boy" offers another yearning reflection on youthful dreams, refreshing Morrissey's flair for careless pop as it provides the record’s requisite animal rights song. The record requires a revisit to life-is-rubbish territory, meanwhile, is "Headache," which wryly re-purposes marital vows in the service of a commitment to terminal anguish. If life was a pigsty, basically, now it's a migraine. But the song’s tinkly keys and liquid guitars bring some small succour at the altar of Morrissey's melancholy. "Boulevard" is another mid-album lamentation, replacing the elegant, Rome-combing yearning of Dear God Please Help Me with an almost defeated-sounding sense of despair: "Oh, the state I’m in." Morrissey croons here in superior parallel piece is "Many Icebergs Ago," which recounts a series of sexual or romantic misadventures across a series of pubs (Ten Bells, Sebright Arms) over moodily evocative backdrops, all now lost to murky memory as its narrator begins “to grow old”.
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